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INSTRUCTION BOOK 



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ACADEMY 



ESTABLISHED 1882 



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Pattern Iraftttuj 

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HOME OFFICE 

WASHINGTON, D. C 



COPYRIGHTED 1922 



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COPYRIGHTED 1922 



EUGENE T. DICKINSON 
JESSICA LIVINGSTONE DICKINSON 



CONTEXTS 

Introduction 

General Descripton of Prof. Livingstone's French Dresscutting Machine 

Equipment required 



LESSON 1 

Taking measurements. 
Measure Book 

Sketch showing measurements. 
English Two-Dart Basque. 
Two-seam sleeve. 

LESSON 2 

French Basque or One-Dart 

Foundation 
Facings 
French Basque or One-Dart 

Foundation (Stout) 
Plain linings 

LESSON 3 

Plain waist or blouse 
Plain waist or blouse for stouts 
Surplice or crossover blouse 
Fancy blouses 

LESSON 4 

One-seam sleeve foundation 
Bell or bishop foundation 
Leg o' mutton foundation 
Plain cuffs, circular and ripple 

cuffs 
Plain collars, circular and roll 

collars 
Sleeve variation and develop- 
ment 

LESSON 5 

Kimona waist or blouse 
Fancy kimona blouses 

LESSON 6 
Plain coats 
Double-breasted coats 
Single-breasted coats 
Coat collars %* 

Facing 
Inner lining 



Canvasing 

LESSON 7 

Skirts, plain, two-piece 
Four-panel skirt, plain 
Four-panel skirt, fancy 
Six-panel skirts 
Plaited skirts 
Sunburst plaiting 
Accordian plaiting 
Knife plaiting 
Circular skirts 
Ripple skirts 
Scalloped skirts 
Fancy skirts 

LESSON 8 

Plain one-piece dresses 
Fancy one-piece dresses 
One-piece dresses, kimona foun- 
dation 
Draping 
Children's dresses 

LESSON 9 

Applique cutting, plain 
Applique cutting, circular 
Rapid cutting of folds, ruffling, 

etc. 
Applique, plain and circular 
Embroidery, braiding and fancy 
stitching 

LESSON 10 

Lines of design 

Treatment of colors and shades 

A few do's and don'ts. 

Glossary of terms 

Description of materials 

Instruction by mail 

Diploma 

Table of measurements 



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INTRODUCTION 



This course contains a series of instructions on the use and application 
of Prof. J. W. Livingstone's FRENCH DRESSCUTTING MACHINE, 
Patented in 1905, improved 1915, 1921, for the designing and cutting of 
women's and children's garments. 

It is intended that with these instructions anyone who can read and 
understand the English language, can take Prof. Livingstone's FRENCH 
DRESSCUTTING MACHINE and with it. design any garment of every 
style and make practical working patterns to fit any woman's figure. 

ACCURACY, Importance of 

The student upon taking up the study of this work should at once learn 
the importance of accuracy, carefulness, and thoroughness. As early as 
possible the student should form the habit of making a mind's picture of 
the garment she intends to design. This does not mea l, however, that there 
will not be changes in ideas as first conceived ; to the contrary, seldom is a 
design ever completed as it was originally planned. 

READ ENTIRE LESSON 

These instructions are divided into short, accurately worded lessons 
and the student should master each one thoroughly as they occur before 
proceeding to the next, and read the entire lesson over several times be- 
fore starting to execute the design. 

ATTENTION 

A very important point on the study from text is to give the entire 
mind and thought over to the subject, and never pass a paragraph or even a 
sentence until it is thoroughly impressed upon the mind. 

A great many people have the habit of reading one subject and thinking 
along another line altogether. One cannot study successfully in this way. 
The text must have your entire mind. 

SUCCESS MEANS STUDY 

Determination must be the watch-word. Anything that is worth while 
may seem impossible at first when after a short time of honest study, it will 
clarify itself in your mind to where you wonder why you did not understand 
it at first glance. 

ANY CHANGE OF STYLE 

Prof. Livingstone's FRENCH DRESSCUTTING MACHINE is so 
designed that no matter what the change of fashion might be, it can readily 
be adapted thereto. 

You learn to make the foundations first. 

DESIGN AND CUTTING MOST IMPORTANT 

While the knowledge of making seams and stitches is a very important 
requisite in costume building, it is of secondary importance to the beginner 
in the study of these Arts. 



ATTENTION TO PLATES AND TEXT 

It is very important that the student pay strict attention to both the 
written text and the illustrated plates. One must have the ambition to mas- 
ter the points that are apparently most difficult and very careful to understand 
the intent of the text, and doubly careful in executing the instruction cor- 
rectly. Do not try to get ahead of the text. Read each sentence then carry 
out instruction given by it before proceeding to the next. 

Genera! Description of 

PROF. LIVINGSTONE'S FRENCH DRESSCUTTING 

MACHINE 



To get the best results from any machine or mechanical appliance, the 
user must be thoroughly familiar with all of its parts. With that purpose 
in view, this chapter is written. 

ADJUSTABLE PATTERN 

The machine is an adjustable pattern, adaptable to all shapes and sizes 
of women's figures. It is composed of two major parts, the waist or above 
the belt, and the skirt, or below the belt. 

ONE HALF OF DESIGN 

It is customary in the making of patterns to make only one-half of a 
design, that is when the design is identical on both sides of the center back 
or center front. Therefore, we first learn to draft plain patterns for one- 
half of the garment working from center front around the left side to 
center back. 

FAMILIARIZE YOURSELF WITH MACHINE 

You should first of all arrange your machine out in front of you on a 
board or table and read over carefully every word on each section. The 
arrangement should be made as shown on Plate 1, which is the large plate 
in the center of the book. 

BASQUE OR UPPER GARMENT SECTION 

The waist or basque is composed of eight component parts, viz., front 
section A-C, double under-arm D-D, single under-arm S-B, side back 
A-D, center back L-L; two sections for the sleeves; T-S, U-S, together 
with the designing scale or rule, which is graduated from one to eighteen 
inches for the making of measurements, reproducing illustrations, and pro- 
ducing irregular curves at required locations as you will learn later. Each 
movable part has a reference number with which to identify it. 

The upper or waist machine is made to reproduce a perfect tight-fitting 
English basque or two dart fitted lining with four seams on either side and 
sometimes at the center back. (See Plate 1.) 

FOUNDATION FOR GARMENTS 

This design is and always will be the foundation for all fitted garments 
and from it the user soon learns to design any garment that may come in 
style from time to time. 

EASILY ADAPTED 

It is very easily adapted to the Princess or Empire styles (See Glossary 
for definition of these words), French linings, and the loose fancy frocks, 
blouses and kimona foundations ; giving also the correct foundation for all 
tailored garments, both plain and fancy. 

NO REFITTING 

Properly and carefully used it eliminates all refitting because it is set 
to the required sizes to begin with, thereby, appreciably reducing the time and 
labor usually required in correct garment making. 

2 



DESCRIPTION OF SKIRT SECTION 

The skirt section consists of a rigid segment which has a graduated 
measure to give the size and proper curve for the waist and hip lines. 
There are two adjustable sliding scales with measures thereon to give the 
desired lengths and shape of the skirt. It is designed to cut a plain two- 
piece, gored or circular skirt, to all sizes. These being the foundation for 
all modern skirts. The fancy and novelty skirts are developed from the 
above foundations. See Plate 10. 

PATTERNS, The Need of 

Anyone, before they can advance very far in the Art of costume design- 
ing, must learn to make working patterns for the design required to fit the 
individual for whom the garment is to be made. 

A knowledge of pattern making is therefore required to be able to draw 
the model or guide which when completed and cut out, makes the pattern. 

EQUIPMENT AND SUPPLIES REQUIRED 

Prof. Livingstone's French Dresscutting Machine. 

A table or board. Size about three feet square or larger. 

Paper for drafting. Plain Manila or white. Size 20 by 30 inches or 

larger. 
Lead pencil (soft). 
Cloth tape measure (60 inches long). 
Dressmaker's measure and rule. 
Measure book. 
Tracing wheel. 
Scissors. 
Pins. 

Adjustable Dress Form (desirable, but not absolutely necessary). 
Any of these supplies may be procured from the Academy at reason- 
able prices. 

TAKING MEASUREMENTS 

The first and most important requisite for cutting and designing 
correctly fitted garments is the taking of correct measurements of the 
figure to be fitted. Therefore, we will assume a set of measurements 
to be used in our first few lessons, and we would caution you, right 
here, not to try to make a draft from any other measurements until 
you thoroughly understand the use of the machine. . For so doing 
will cause yourself unnecessary work and worry; on the other hand, 
if you follow the text and illustrations closely you will master the 
problems very easily. See Plate 2. 

MEASUREMENTS IN SAME SEQUENCE 

The student should acquire the habit of taking the measurements 
in the same sequence for each garment, thereby eliminating the ne- 
cessity for writing the name of the measurement each time they are 
taken. 

Study the illustrations on Plate 2 very carefully and use them 
continually. 

WAIST OR BLOUSE 

FRONT measure is taken from just where the collar would go 
around the neck to the normal waist line. The waist line may 
always be determined by locating the top of the hip bone and 
tracing a line on the figure around to the front. Do not be 
misguided when taking measurements by the particular design 
worn by the figure being measured. 

UNDER=ARM is measured from close under the arm to the waist 
line or top of hip bone. 



BUST measure. Take the tape in right hand and place around the 
figure, holding it as high over the shoulder blades as possible, 
draw it around close up under the arms and across the fullest 
part of the bust, being careful not to slide the tape on the figure. 

CHEST measure is taken as shown on Plate 2, Figure 1, across the 
chest where the normal armhole seam should appear. 



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PLATE. Z. 



WAIST is measured tight, just above the hip bone or the exact normal 
waist of the figure. 

SHOULDER TO DART. This measurement is taken as shown from 
the center of the shoulder down to the point of the bust. 

SHOULDER is measured from where the collar goes around the 
neck out to the point of the shoulder. 



NECK. This measurement is taken just around the neck where a 
tight collar would fit. 

BACK is measured from where the collar goes around the neck 
down to the small of the back or just where the figure bends. 

TWO-SEAM SLEEVE 

UPPER MUSCLE. Always measure the right arm and fold the 
arm back so as to get muscle at full size. 
Note. — On Plate 2 the model measurements for you to use are in 
the circles in inches. The student should practice taking meas- 
urements of different size figures, any ladies that may be avail- 
able, but do not use the measurements for your drawings. 

LOWER MUSCLE. This is the largest part of the arm between the 
elbow and hand. 

SHOULDER TO ELBOW. This measurement is taken from the 
point of the shoulder to the elbow. 

ELBOW TO HAND is measured from the point of the elbow to the 
joint at the wrist. 

HAND. Place the tape around the right hand so as it passes over 
the thumb and largest part of hand. 

INSIDE LENGTH. This measurement is taken from the normal 
armhole seam down the inside of the arm to the wrist, as shown 
on Plate 2, Figure 1. 

SKIRT 

HIP. For the average figure about eight inches down from the 
waist gives the largest part of the hip. You should, however, 
measure the hip around the figure at the largest point, always 
noting the distance below the waist line. On stout figures some- 
times it is necessary to take the measurement of the hip at two 
points below the waist, usually eight and twelve inches below. 

FRONT LENGTH OF SKIRT. Always measure the length of the 
skirt from the waist line to the floor front, back and two sides, 
then deduct from these measurements the distance you desire 
the skirt finished above the floor. See Plate 2, Figure 1. 

MEASURE BOCK 

The student should supply herself with a small book for taking 
and keeping all measurements used. Write the name of the person 
with the date taken and description of the design to be made. These 
books may be had from the Academy. 

Following is the proper sequence in which the measurements 
should be taken. The first line is used for the waist proper, the sec- 
ond line is for the sleeve, and the third line is for the skirt measures, 
hence — 

Front, Under-Arm, Bust, Chest, Waist, Shoulder to Dart, Shoulder, Neck, Back, 
15 9 38 13 26 9J4 6 13% 16 

Upper muscle, Shoulder to elbow, Elbow to hand, Hand. 
12 13 10 8 

Waist, Hip, Front length, Sides (R-L), Back, 
26 40 42 minus 7 43 43 



LESSON I 

ENGLISH BASQUE OR TIGHT FITTING TWO- 
DART LINING 



Center Front — Sections A-C, Figure 1 

Study Plate No. 3 carefully. 




--^' 



Spread your drafting paper (size about 20x30 inches) in front of 
you on a smooth table or board and place the large front section 
A-C of the machine on the paper even with the lefthand edge. (See 

6 



Plate No. 1, Figure 1.) 

Set A-C 2, 3 and 4 to length of front 15. 

Measure two inches between 3 and 4 at waist line arrow in back 
dart. 

Set A-C 6 to size of bust 38. 

Set A-C 5 to length of under-arm nine inches on A-C 6. Then 
set A-C 5 to 26 waist on A-C 4. It may be necessary to lift A-C 5 
slightly to keep fasteners from hanging on the under side. 

See that A-C 8, 9 and 11 are pushed down as far as possible so 
that the 9J^ is covered. 

Take your scale, place it across the shoulder, slide A-C 9 out to 
the length of the shoulder 6 inches as shown at AA and BB, Plate 
No. 3, Figure 1. 

Place A-C 10 even with the top of A-C 6. See Plates Nos. 1 and 
3, Figure 1A. 

Now check over each adjustment you have just made. See that 
your machine does not move and draw the outline of your front sec- 
tion as shown by heavy lines on Plate 3, Figure 1, down to the waist 
line and make a dash at each arrow point shown. Remember that the 
heavy lines indicate the garment and the broken lines show where the 
seams go. 

The student will with a little practice soon become accustomed to 
using the machine, thereby overcoming the awkwardness at first ex- 
perienced. You should hold your pencil as nearly straight up or ver- 
tical as possible, and place your left hand on each section to hold it 
steady as you draft the line. 

The machine must now be removed from the paper. You will note 
that the French bust line or true center front has not been drafted, 
so we will proceed to draft same.. Take the scale in your left hand 
and, with the square end at the neck curve, measure in from the edge 
of the paper one inch. Now at the top of the darts, measure in one 
inch. At the waist line measure in two inches. Now draft a straight 
line from the first mark you made at the neck to the one at the top of 
the darts, then draw a slightly curved line from this point to the mark 
at the waist line. See Plate No. 3, Figure 1. Now at the waist line 
measure in one inch from the edge of the paper and make a dash, 
and on the extreme edge of the paper even with the top of the darts 
make another point; then draw a straight line between these two 
points. This will give you a triangular piece to be trimmed off. 

Seams are allowed at the neck and in the armhole, so draft a 
broken line to show them. See Plate No. 3, Figure 1. Now draw the 
seams in the darts, on the shoulder and under-arm and show the as- 
sembly notch one inch from the armhole down on the under-arm 
seam, also in the darts as shown on Figure 1. Then draw waist line 
as shown in Figure 1. Allowance for seam or hem at waist line is not 
made in this lesson. 

Note. — By "assembly notch" is meant one or more notches cut in 
the edges of the pieces to show how they are assembled or put to- 
gether. 

This completes the draft for the front section. Now it should have 
the exact appearance as your Plate No. 3, Figure 1, and if it does not, 
something is wrong and you should check it over. 

Single Under-Arm Section S. B., Figure 2. 

The symbol for this section is S-B, and it is made in four parts. 
Just above the symbol S-B 2 you will see the name printed and above 



S-B 1 you will notice two groups of numerals or scales, as they will be 
called. The upper scale is to be used now at 38. The lower scale is 
to be used when the double under-arm section is used, as will be ex- 
plained in detail later on. 

For the garment that we are drafting this section is cut sepa- 
rately and stitched to A-C 5 and 6, at the under-arm seam, so we will 
set it up to the required sizes as follows: Slide S-B 3 to the length of 
the under-arm, viz., 9. Then slide S-B 4 to the length of the back, 
viz., 16. Now on the upper or single under-arm scale set S-B 2 to the 
size of the bust, viz., 38 Now set S-B 4 to the size of the waist, viz., 
26. You will note here that 26 is the last numeral on this scale. The 
lower scale is to be used when you use the double under-arm sec- 
tion D-D. 

Now see that the section is set correctly at all four points, bust, 
waist, under-arm and back. Then draft the outline as given by the 
section down to the waist line and make a dash at the waist line ar- 
row points. Now show the seam with a broken line on the top end 
as this is a part of the armhole and the seam is included on the ma- 
chine. Draw side seams and draw the waist line, which completes this 
section. Make assembly notches as shown.. See Plate No. 3, Figure 2. 

Center Back Section L-L, Figure 3 

Place the center back section L-L one-half inch from the left edge 
of the paper and draft a line, using section L-L 1 as a guide for your 
pencil. This leaves a seam on the center back. See Plate 3, Figure 3. 
If we desired the back all in one piece, then we would place the ma- 
chine on the extreme edge of the paper and draft the pattern, and 
cut the material on the fold, but for this lesson we will allow a half- 
inch seam on the center back Set L-L 2 to length of back 16. Set 
L-L 4 to size of bust 38. You will note that this makes the shoulder 
the correct 6 inches. Different size shoulders will be treated in the 
next lesson. 

This section is now ready to draft, so draw the outline as given by 
the machine down to the waist line and make a dash at the arrow- 
point on both sides. Remove the machine and draw the waist line. 
Seams are allowed at neck and armhole. Draft them as shown. Also 
draft shoulder seam and assembly notches as shown on Plate No. 3, 
Figure 3. 

You will notice on Plate No. 1 that the three front sections (Fig- 
ures 1, 2 and 3) are made for the left side, and the two back sections 
(Figures 4 and 5) are made for the right side. This is done in order 
to make them easier to cut. If the back and side back sections L-L 
and A-D were "made the same as the front sections, then we would 
have to cut lefthanded, which would be very awkward for most 
persons. 

Side Back, Section A-D, Figure 4 

Set A-D2 to size of bust 38. 

Set A-D 4 to length of back 16 and to size of waist 26. Now draw 
outline as shown on Plate 3, Figure 4, down to waist line and make 
dashes. Remove section and draft waist line (always use points of 
the arrows, never use the feather end). Now draw seams with broken 
lines and show your assembly notches just as they are on Figure 4. 



Double Underarm Section D-D 

This section is used for sizes from forty bust and larger, so we 
will not study its use here. But we will take it up later when we 
study designs for stout figures. 

This completes the first draft for an English Basque or two-dart 
fitted lining. The student should go over every detail very carefully 
and be positive that she understands the subject thoroughly. Also 
place each section of the machine on the draft and see that it is made 
to the correct measurements, for accuracy is one of the most import- 
ant requisites in the designing of women's garments, and as the 
principle of garment making is to fit the figure, we must learn to do 
this first, then we can make any changes we wish to comply with the 
styles of the day. 

As we have said in a preceding paragraph, we cut only one-half 
of the design ; therefore we must either cut two pieces by each pat- 
tern or fold the material and cut it double in order to get the whole 
garment. It is very important to fold the material either face to face 
or back to back to be sure that you cut one piece for the right side 
and one piece for the left side instead of, say, two fronts for the left 
side when of course one piece would be ruined. See note on Plate 3, 
Figure 1. 

Plain Two-Seam Sleeve, Plates 1 and 4; study them both 
very carefully. 

Measurements required : 

Upper Muscle, Shoulder to Elbow, Elbow to Hand, Hand 
12 13 10 8 

Place large section T-S of the sleeve close to the lefthand edge of 
another sheet of paper. Study Plate 1, Figures 6 and 7, and Plate 4. 
The reference letters apply to both plates. 

Set T-S 1 to size of muscle 12. Set lower end to size of hand 8. 
Now make a dash on the paper opposite the elbow arrow. Plate 1, 
Figure 6. 

Now start to draft from the arrow at elbow to the shoulder up 
to the 13-inch graduation, and make a dash as shown on Plate No. 1, 
Figure 6 B3. Then start at the elbow and draft down to the "elbow to 
hand" measure, viz., 10 B4, and make a dash. Repeat the same opera- 
tion on the inside from the 13-inch mark B2, at the top, to the 10-inch 
point Bl, near the hand end. Make a dash at both ends of this line as 
shown on Plate 1, Figure 6. 

This leaves both ends open or unfinished. Now slide the sleeve 
down and connect the two side lines with curved top, keeping sleeve 
even at point marked B2.. Then connect the bottom or hand end lines 
with a straight line, Bl and B4. Next draft the seam at the top of 
the sleeve on the inside and side seams on the outside. Then make 
assembly notches as shown on Plate 4, Figure 1, and allow one inch 
hem at hand end. 

The small or under side of the sleeve U-S is drafted in the same 
manner as the top side, but be careful to make section U-S 2 even on 
the left edge with U-S 3. See Plate No. 1, Figure 7 C2. 

Draft the sides and make the dashes at 13 on both sides at the top. 
C2 and C3, Plate 1, and the same at 10 near the. hand CI and C4. Then 
make a dash at the elbow arrow. Now draw the machine down and 
draft the curve for the armhole end. Refer to Plate No. 1, Figure 7. 
Place the corner CX just so it comes to the end of the line and 
forms a point at C3 on Plate 4, Figure 2. Then swing the sleeve around 



until it comes to the end of the line C2 and forms the end of the 
sleeve. Plate No. 4, Figure 2 C2 and C3. Connect the two lines at the 
hand end by straight lines CI and C4. Now draw the one-inch hem 
at the hand and make assembly notches as shown, also show the 
seam at the top end and sides. This completes a plain two-seam 
sleeve. One seam and fancy sleeves will be taken up later on. 

The student should now practice over the entire lesson in order to 
thoroughly understand adjustments. Then draft an entirely new pat- 
tern accurately to the same measurements, to be sent in to the Acad- 
emy for correction and comment. 




If there is a word, sentence or phrase that you do not fully un- 
derstand, look it up at once; do not pass it over, as it may be the 
cause of a great amount of trouble. If you cannot find the exact 
meaning from the authorities at your command, write in to us im- 
mediately stating the location of such words, sentences or phrases, 
and we will at once define it clearly for you. 

Be sure to enclose sufficient postage for return of your lesson, as 
we cannot keep separate postage accounts for each student. 

10 



LESSON II 

French Bodice or One-Dart Foundation. 

(French Lining) 

This design is the foundation for the majority of fitted garments 
in both dresses and coats and is the most popular and easily fitted 
design for inner linings. 

See Plate No. 5 for illustration and developments. 

Place a sheet of paper before you and adjust the front Section 
A-C of the machine to the measurements just as you did for the 
English lining in the preceding lesson. Draft the under-arm line as 
you did in the English lining from armhole to waist line and outline 
the two darts with a dot and dash line as shown on Plate No. 5, 
Figure 1. 

Now refer to Plates Nos. 1 and 5, Figure 1. You will notice the 
letter X set in the center of the front dart opposite the waist line 
arrows. You will indicate the same X on your drawing. Now insert 
your pencil in the slot marked "top of one dart" and mark full length 
of slot. See Plate 1, Figure 1 X X. 

Do not let the machine move out of position. 

At this point we will discuss the proper method for measuring and 
fitting the neck. To have the shoulder seams to come in the proper 
place, we shall divide the neck size, W/z inches, into three equal parts, 
one third for the back and the other two thirds for the fronts. See 
Plate No. 5, Figure 2. So we will have one-third of the neck size, or 
Ay 2 inches, to measure on the drawing at BB. 

Now take the tape measure in your left hand and place the 4^4- 
inch graduation on the true center front line and measure around the 
neck curve A J / 2 inches by holding the tape against the curve of the 
machine, and make a dash. See Plate No. 5, Figure 1 BB. 

Set the shoulder sections A-C 8 and 9 to the correct 6 inches and 
make a dash at top of armhole as shown at AA, Plate 5, Figure 1. 
Now place A-C 10 in correct position even with the top and edge of 
A-C 6. See A, Plate 5, Figure 1, and draft the front armhole curve. 

You will notice that the 4^-inch marks that you made do not 
come up to the top of Sections 8 and 9, so we will drop the shoulder 
Sections A-C 8 and 9 down until they come even with the dashes that 
you made at the neck BB and Armhole AA. See Plate 5, Figure 1. 
Now draft the front shoulder line over A C 8 and 9, ,being sure that 
the shoulder is set to the proper 6 inches. 

Now move the machine to the left so that the arrow on the right 
side of Section A-C3 comes just to the X you made in the front dart. 
See Plate No. 1, Figure 1. Now open Section A-C4 as far as it will 
go and move this dart over on the top until it intersects with the 
mark you made in the slot "top of one dart." See Plate 1, Figure 1XX. 
Be sure that Sections A-C 3 and 4 are set to the right front measures, 
viz., 15 inches. Now draft the one dart as shown by solid line on 
Plate No. 5, Figure 1. 

Remove the machine and transfer the exact front center line just 
as you did in the preceding lesson. See Plate No. 5, Figure 1. 

Now take your scale and measure across the shoulder and locate 
the center, three inches, and draw a straight line from this point to 
the top of the dart. See Plate No. 5, Figure 1. Draft the waist line 
and also the seams as shown on Plate 5, Figure 1. When the two 
pieces are cut apart on the shoulder to dart line, seams must be al- 
lowed also. This completes the draft for the two front sections of a 
French Lining or Princess Top. 

11 




t-0OU8LE UNOERARM 

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WAIST LINE 



PLATL 5. 

ONE HAV.F FRONT(cUITWOPit«i) FRENCH BODICE •« ONE DART FOUNDATION. 



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12 



This design may be used with the dart all in one piece if desired, 
but then it is not a French lining, because the seam must run to the 
shoulder in a French lining. 

Center Back Section 

The center back sections L-L should now be set up the same as 
in the English Lining of the preceding lesson. Draft a broken line all 
around it from the waist line up on both sides and across shoulder. 
See Plate No. 5, Figure. 3. Be sure to make the dashes at the waist 
line. Now take the scale and place the 14-inch graduation even with 
the left edge of the machine at the neck. Be very careful to keep the 
scale square with the edge of the paper. Now draw around the curve 
to the 1634-inch graduation. This is two and a quarter inches, which is 
one-half of the one-third of the neck size, for we are only making one- 
half of the back. See Plate 5, Figure Z. Now from the 16^-inch mark 
or the end of the curve you just made measure with the scale across 
the 6 inches for the length of the shoulder, being careful to keep the 
scale parallel with the broken shoulder line. Now draft heavy shoulder 
line with Section LL3. See Plate No. 5, Figure 3. 

Now remove Section LL of the machine and set up the side back 
Section A-D to the required measurement just as you did in the 
English Lining, and place to the right of the center back. Allow the 
A-D section to come exactly in contact with the draft at the waist 
line arrows and just touch the curve with the broken line curve at the 
top. See Plate 1, Figures 4 and 5, and Plate 5, Figure 3, A2 and A3. 
Now draft the right side of this section with a broken line. See Plate 
No. 5, Figure 3 BX. 

Next set the single under-arm or S-B Section up to the required 
four sizes, viz., bust, waist, under-arm and back; then reverse it or 
turn face down and place the waist line arrow in contact with the 
dash you made at X with the A-D Section and intersect the top with 
the curve line at the armhole at B. Now draft a solid line for the 
under-arm to the right of this section down to the waist line and 
make a dash at C. You will notice that this leaves the back armhole 
open. Now place your scale with the curved end down and form the 
back armhole curve as shown by Plate No. 5, Figure 3.. Next measure 
and locate the center of the shoulder, viz., 3 inches. You will notice 
that you have three points or lines at the waist line. Now draft a 
straight line from the point you located on the center of the shoulder 
down to the center line at the waist, marked X at bottom of Figure 3, 
Plate 5. Now connect your waist line points and draft seams as shown 
on Plate No. 5, Figure 3. Draw seams as shown on Figure 3. 

Facings 

Very often it is required that the sleeves of a dress be stitched to 
the lining and the armholes of the outer dress are bound or otherwise 
finished. Whenever this is required it is necessary to put on a facing 
to prevent the lining from showing around the sleeve, so if you will 
study Plate 5, Figures 1 and 3, you will see the curved lines around 
the armhole both front and back. The pattern for this facing which 
is three inches wide is made by placing a piece of paper under it and 
tracing the lines through with your tracing wheel. Then the facing 
pattern will be identical to the lining and will fit perfectly and will not 
roll up or twist up as you have very likely seen in some dresses. 

This completes your draft for the back of a French Lining or 
Princess Top. Now take your scissors and cut it out and cut the two 
sections apart. Then place all four sections together and allow all 
seams, make assembly notches and write the words "center back and 

13 



center front" along the edges in the proper places as shown on Plate 
No. 5, Figure 4. 

The student should practice over the lesson at least three times 
and be sure to understand it thoroughly, as this French Lining or 
Princess Top is really the hardest point to master, and when once un- 
derstood thoroughly furnishes the foundation for the majority of 
fitted garments. 

After you understand it thoroughly draft another pattern to the 
same measurements, cut it out and send in to the Academy for cor- 
rection and comment. 

When finished, you drawing should have the exact appearance of 
Plate No. 5, Figure 4. 

Bear in mind that on the pattern the front is made on the left 
side and the back is made on the right side. Therefore, when placed 
together as in Figure 4, the back pieces must be turned opposite to the 
way they were drafted. 

French Lining or Princess Top for Stout Figures. 

This design is for figures where the bust size is 41 and over and the 
waist size is 26 and over. You will note on Section A-C 4, that the waist 
measure scale is only numbered to 26, but by counting to the edge of the 
section you see that it can be used up to a 30 waist without the double 
under-arm Section D-D. So you do not use the double under-arm D-D for 
sizes smaller than a forty bust and thirty waist. 

We will assume the following measurements for a stout figure and 
make a French Lining or Princess Top to fit : 

Front Underarm Bust Chest Waist Shoulder to Dart Shoulder Neck Back 
16 9 42 15 30 10^4 6^ 14 16 

You should transfer these measurements to your measure book for 
later reference. 

Set up the Front Section A-C the same as you did in the preceeding 
lesson except you set the bust size out as far as it will go and set the 
waist size to the last measurement which is 26. 

Note carefully the change in all measurements and set the machine 
section A-C just as you have learned in the preceeding lessons and draft 
the front sections of the pattern as shown on Plate 5, Figure 1. being 
earful as to accuracy. 

It is very necessary to have the chest measure the right size especially 
for stouts, so be careful to set A-C 10 so that you get the required 7^ 
inches from the center front to the armhole. 

Double Under-arm Section D-D 

This Section D-D is used for designs of 41 bust size or larger. And 
the better practice is to set it up to the required sizes just as you have 
learned to set the single under-arm and side-back sections, then make a sepa- 
rate piece and set it in with seams between the front (Figure 1) and the 
back Figure 3 (See Figure 5). 

If it is desirable this section can be added half to the front and half to 
the back. See the dotted line in center of Double Under-Arm piece, Plate 
No. 5, Figure 5, thereby having only one seam under the arm instead of two. 
This necessitates making both the back and front pieces just the width of 
half of this piece wider. 

In this stout model that you are making, the single under-arm S-B and 
the side back A-D Sections are set to the required sizes on the lower or 
double under-arm scale for the bust and waist measurements, and they are 
used exactly the same as in the preceeding lessons. 

14 



The center back section is used identically the same in this lesson as 
in the preceeding one except that the measurements are for a different size. 

When making a pattren for extra stout figures it is usually necessary 
to spring out a little over the shoulder as shown by the dotted lines on 
Figure 5. 

Plain Lining 

This lining is made in just three pieces by not cutting the princess lines 
in it and by leaving in the dart. The under-arm seams on the front and 
back are just as in the Princess Top. Refer to Plate 5, Figure 6 and you 
will readily see the development. 

LESSON III 

Plain Waist or Blouse 

In this lesson we will take up and develop a plain waist or blouse. We 
will use the measurements that we used in the first lesson. 

A plain waist may be open at any desired location. The center back, 
center front and under the left arm being the three most popular places. 
They may be either buttoned, hooked or snapped. 

To make a pattern for a plain waist to open down the center front. 

Place a sheet of paper in front of you and set up the Front Section A-C 
of the machine just as you did for the French Lining or Princess Top, in 
Lesson No. 2. 

This design will be made without darts and the back will be cut on 
the fold. See Plate No. 6, Figures 1 and 2. 

The bust and waist will be set two sizes larger on all sections. That 
is, Bust 38 plus 2 equals 40 and the waist 26 plus 2 equals 28. This is for 
looseness and must be increased or decreased according to the style of gar- 
ment and the taste of the wearer. Move Section A-C 6 out as far as it will 
go at the bust and set the waist A-C 5 to the second graduation on the 
waist scale that is not numbered. This is 28. The back dart is set with 
the same two inches, and this extra material caused by the darts is left in 
to cause the waist to blouse, and if so much blouse is not desired you may 
redraft the underarm line made by A-C 5 and 6 a little straighter down, 
that is, draw it in at the waist until you get the desired fullness. See Plate 
No. 6, Figure 1 A-AB. 

The center front line is drafted straight down to the waist line as 
shown on Plate No. 6, Figure 1. Be very careful to have your chest meas- 
urement correct. This is governed by moving A-C 10 in or out as shown 
at AA and A on Plate 6, Figure 1. 

After you have the Front Section set up, check your neck and shoulder 
measuresments very carefully then check the other measurements, if cor- 
rect, draft to your paper down to the waist line only and make the dashes at 
the waist line arrows as usual. 

For the back we will set up the center back Section L-L and the side 
back Section A-D just as we did for the French Lining except allow two 
sizes larger than the measurements at the bust and waist, that is a 40 bust 
and 28 waist on the upper or single under-arm scale. Now draft these 
sections with a broken line just as you did on the French Lining. See 
Plate No. 6, Figure 2. Now take your single under-arm Section S-B and 
set it to the required sizes allowing two sizes larger at the bust and waist 
on the upp^r or single under-arm scale then reverse it (turn face down) and 
add it to the other two sections, keeping the waist points even just as you 
did in the French Lining. See Plate No. 6, Figure 2. Now check up the 
measurement on all sections and draft all three sections all in one piece, just 
as you did for the French Lining. See Plate No. 6, Figure 2. 

15 



You will see that this leaves the arm-hole irregular and unfinished, so 
take your scale and place the 18-inch mark at the bottom of the arm-hole and 
bring the upper part in contact until it reaches the end of the shoulder then 
draw the back arm-hole just as you did in a French Lining. See Plate No. 
6, Figure 2. Then draw the underarm seam line straight down which gives 
the looseness for blouse back. 

See Plate 6, Figures 1 and 2. Take your scale and extend the under- 
arm, Lines Al and A2, center front Bl and B2, and center back lines CI 
and C2 down three inches below the waist. This is for the finish to be 
worn either over or under the skirt. 

Plain Waist or Blouse for Stout Figures 

For a plain waist sizes above 40 bust, set all bust and waist measure- 
ments two sizes larger than actual measurements. Use the Double-Undcr- 
Arm and develop just as you did the stout French Lining. See Plate 6, Fig- 
ure 4 A, B, C. Use the same measurements as you did for the Stout French 
Lining excpt allow for looseness at bust and waist. Study Plate No. 6, 
Figure 4 carefully to get the quickest results. 

Figure 3 shows method of changing shoulder seam. This is done by 
placing the shoulders of the back and front patterns together and drawing 
another line as far down the front as desired for a yoke or drop shoulder 
as it is sometimes called. See Figure 3, A A. If a separate yoke is de- 
sired, as in a shirt, this may be made by drawing the line shown at BB 
also. This gives three pieces. After drawing the lines to show the changes 
place another piece of paper under the pattern and trace all lines through 
to the underside, them remove and cut apart and allow seams. 

When extra fullness for a plait or tucks or gathers is desired, cut the 
front pattern apart and spread it out until the required fullness is obtained 
and then cut the material or another pattern with the extra fullness in it 
as shown at K and Kl on Figure 4. 

The difference between a plain waist or blouse and a shirt waist is that 
the latter has a yoke on the shoulder and should have a one-seam sleeve 
with a cuff. See Plate No. 7 for illustration and details. 

Surplice or Crossover Blouse 

Refer to Plate 6, Figure 7A. jFold your paper through the center 
then use this folded edge for the center front and draw a regular plain 
waist or blouse as you have learned to do; now transfer the outline through 
to the under side with your tracing wheel, unfold the paper, you have the 
entire front before you, Figure 7B. Now measure down the cente'r front 
from the neck to X, which for this design we make 9 inches. Now start at 
the end of the right shoulder XI and draft the curved surplice line over to 
the waist line on the left side X2, being careful to let the curve pass through 
the right point X on the center. Refold your paper on the center front and 
transfer the X and XI line to the left side. This will give you X and X3. 
Now unfold and measure out on the right shoulder 3^ inches to X4. This 
will give the outside of the collar. Now cut the back of a plain waist, 
place the shoulders together as shown at XI and X5, then measure down 
the center back 4 inches and draw the outside line of the collar from X8 
through X4 and down to X2 ; in drawing this free hand curve lay your 
hand flat on the paper and with a light broken line form the shape until you 
get it right, then draw the line solid. Now place a separate piece of paper 
under the drawing and trace the collar through to it and mark center back, 
cut on fold and allow seams. 

Draw the line X7 2 inches below the neck. This gives the top of pat- 
tern for the vest. 

The whole pattern must now be cut apart on the line Xl-X and X2, 
then the line X3 to X. The line X2, X4 and X8 is not cut as that is made 
only to get the shape of the collar which will be perfectly flat on the 

16 



blouse; if you want the collar to roll make the lines from X4 to X8 and XI 
to X9 straight instead of curved. Always allow seams when you cut two 
pieces of a design apart. 

If desired the left side may be extended down to full length, then it 
would appear just as Figure 5. 

Fancy Blouse Development 

To make any fancy blouse, a plain or master pattern must be made 
first, then the lines of design drawn in it, which is then cut apart into 
the separate pieces and seams allowed. 

On Plate 6, Figure 6. is shown a plain Peter Pan or flat collar, and 




this is developed just as you did the facings for the sleeves on linings. 
When a collar, bertha, facing, pocket or any trimming must lie flat 
on the garment, the pattern must be outlined on the original pattern 

17 



first and then transferred to another piece of paper and cut out, allow- 
ing seams. 

Plate 6, Figure 5, shows a plain V-neck blouse that leaves 2^4 
inches of the shoulder bare and a vest that leaves 2 inches of the front 
neck bare. 

The round, square and other necks are developed in the same 
manner by locating the point desired on the shoulder and then the 
distance you wish the neck bare in front, then connect the two points 
with a line of the desired shape square, round or otherwise, as shown 
by the broken and dotted lines on Figure 5. 

LESSON IV 

Plain One-Seam Sleeve 

The measurements to be used are as follows: Upper muscle, 12; 
length of seam, 18; width of cuff, 8. See Plate No. 3 for illustration 
of terms. 

Remember that the measurements that we took are tight. Now 
we will make allowance for looseness to conform to the style and also 
to comfort to the wearer. 

We will allow two inches for looseness at the upper muscle, a cuff 
8 inches long or around the wrist and three inches wide ; allow two 
inches or more on the bottom width of sleeve proper, for gathering 
into the cuff. See Plate No. 7, Figure 2, and note carefully so that you 
understand the terms thoroughly. 

Now draft a one-seam sleeve with cuff to the measurements 
assumed above. These measurements should be placed in your meas- 
ure book under the heading "Measurements for one-seam sleeve." 

Take a sheet of paper and fold it through the center the long way. 
See Plate 7, Figures 1 H and Fl. This will give you a double sheet. 
Now lay the folded sheet in front of you with' the folded edge towards 
you. The folded edge represents the center of the sleeve from a line 
at the top of the armhole at the shoulder point. 

Remember that we lay out and develop one-half of the sleeve first, 
and then unfold the paper, so all of the measurements around the arm 
must be divided in half. Note this carefully. Study Plate 7, Figure 1, 
carefully. 

Take your scale and measure from the lefthand end of the paper 
on the folded edge and make a mark at 8 inches, Figure 1A. This is 
a construction point only and you will learn later why you made it. 
Now from this point A turn your scale across the paper at right 
angle with the folded edge and measure one-half of the muscle, viz., 
6 inchess to Al. Then from this point measure one-:half of the fullness 
required B, which is one inch more or 7 inches from the folded edge 
of the paper to B. This gives the seam edge at the upper muscle. 

Now place your scale with the square end to the left and the 
three-inch graduation on the last point you made at B for the mus- 
cle, slant the scale about two inches towards the folded edge of the 
paper at the bottom of the sleeve; now make a mark at the top or 
square end of the scale C and at the 18-inch graduation D or the 
other end of the scale for the full length of the sleeve. Now make a 
mark at the 15-inch graduation E. This is to deduct the three inches 
for the cuff, and it gives you the net length of the sleeve without the 
cuff. Opposite the 15-inch graduation E measure across the sleeve 
from the folded edge E one-half of the cuff size, viz., 4 inches, and add 
one-half of the allowance for gathers, viz., one inch, making the 
sleeve 5 inches in width at the bottom from E to Fl. Now draw a 

18 



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straight line from this point E to the point you made at the top of 
the scale C, being sure to draw through the mark B you made for the 
the seam less the cuff, which is 15 inches. See Plate No. 7, Figure 1. 
size of the muscle plus the fullness. This line gives the full length of 

To get the right shape at the hand end of the sleeve, take your 
scale in the right hand and hold it at right angles with the folded edge 
of the paper F. Now measure down three fourths of an inch to Fl, 
then take your scale and draw the bottom of the sleeve from E to 
Fl with just a little curve at the folded edge. This completes the back 
half of the plain sleeve. Now with your tracing wheel trace the lines 
through to the under side of your paper, being very careful to follow 
the lines accurately. 

After carefully tracing all lines through to the under side unfold 
the paper and you will have the full sleeve before you, Figure 2, but 
the top on the front side must be eased out or shaped H2 to throw 
the sleeve more to the front when it is sewn into the armhole. This 
is necessitated by the present style and may be changed any season. 
(In fact, this style is just the opposite of the regular custom. That is, 
the shaped out part of the sleeve is usually placed under the arm and 
the seam of sleeve is placed two inches on the front from the under 
arm seam, but the present style is to shape out the front and let the 
seam of the sleeve come directly to the under-arm seam of the waist.) 

To get the shape to be eased out set up the small Section U-S of 
the machine to the size of the muscle and reverse it. That is, turn 
face down and place on or as near parallel as possible with the edge 
of the sleeve as shown by broken line CI and E3, then draft the top 
curve about one-third around CI to C2. See Plate No. 7, Figure 2. 

Then place the large section T-S even with the line on the top at 
H, move it over to the curve you have just made and complete the 
reverse curve. See Plate No. 7, Figure 2, H and CI. 

Bear in mind that the shaped out part of the sleeve H2 is the 
front. 

Now take your scale and at the bottom of the sleeve on the back 
at E measure over two inches and make a mark E2, then draft a line 
two inches long. This is to be slashed and faced for the placket, 
which is to give plenty of room for the hand to pass through. Now 
draft seams and assembly notches as shown on Plate No. 7, Figure 2. 
To shape the bottom end of this modern one-seam sleeve divide the 
width into four parts and shape the curve as shown at E Fl and El 
by the solid line. 

The broken lines K and Kl indicate the length for half or three- 
fourth length sleeves. 

If the instructions are followed closely and accurately there 
should be no trouble in assembling the sleeve to the armhole, but as 
a precaution it is well to measure the entire armhole with your tape 
and then measure the top of the sleeve around the curve; it is cus- 
tomary to ease the sleeve into the armhole a little and it may be from 
y^ of an inch to \y 2 inches larger than the armhole, and this material 
may be eased in; but if there is more than this difference, then the 
armhole must be eased out a little or the sleeve may be trimmed down 
a little on the muscle lines, starting at nothing at E and El and trim- 
ming slightly up to C and CI. 

This completes the plain one-seam sleeve, from which design the 
majority of the variations and fancy sleeves are developed. 

The cuff is a plain piece cut 3 inches wide and 8 inches long with 
.seams allowed. 

19 



Sleeve Variations 

The development of sleeves to make the many shapes and designs 
seems to be a difficult task for most beginners, the reason being sim- 
ply because they do not realize that the plain foundation must be 
made first and then the design developed therefrom. 

We will take up the development of the important designs to show 
the simple method of drafting them. 

_ On Plate 7, Figure 3, is shown the Bell Sleeve, which means that 
it is flared out like a bell at its lower edge. This may be done in a 
varying degree as style and taste dictate. This design is made by 
setting the two sections of the sleeve to the desired muscle size and 
placing them together at the top or armhole end, then overlapping or 
opening the lower or hand end until the desired bell is obtained. 
Then measure the inside or seam length as you do on the regular one- 
seam sleeve and connect the hand ends with a curved line. 

The Bishop Sleeve, so called because it was first used on the robe 
of bishops, is made the same as the bell sleeve, then shirred or gath- 
ered into a cuff or band at the wrist. Another style is to shape in at 
the hand with a dart at Yl and Y2 and straightening the seam lines 
as shown by the dotted lines, Figure 3, Zl and Z2. 

The Leg o' Mutton sleeve receives its name because it is in general 
appearance the shape of a leg of mutton. It is one of the oldest defi- 
nite sleeve designs that we have and becomes quite popular from time 
to time. It is made on the same principle as the bell sleeve except that 
the extra fullness is at the shoulder and is shirred or gathered into 
the armhole as the bell is at the cuff. 

Plate 7, Figure 4, shows the development. Place the two sleeve 
sections together at the hand end, flare the top out to the desired size, 
then from the end with an easy curve as shown on Figure 4. This 
curve may be made high or low as the design requires. It is very im- 
portant to see that the points XP and YZ are on a straight line across 
so that in assembling the two sides the seam will come together and 
the sleeve will not twist on the arm. 

One=Seam Fitted Sleeve, shown on Figure 5, becomes very popular 
from time to time as the styles change. 

To develop the sleeve, first cut a plain one-seam sleeve to the 
measurements required, then pin this pattern to another piece of 
paper and develop as follows: 

Note that C, CI, E and El are the corners of the plain one-seam 
sleeve as shown on Figure 2. The most important change on this 
sleeve is that the line C-E is curved over to the left, making the dis- 
tance from E to F 2 inches and the same line, C-E, 2 inches longer 
to F. 

The distance between Fl and F2 is 4 inches and between G and Gl 
is 2 inches, so we fold a plait in the line C-F at Fl and F2 to make 
it the same length as the other side, CI and Ea. The line Gl and E2 
is curved out just 1 inch from El, which gives the sleeve a little twist 
to keep it from twisting on the arm. 

The dart is cut out to make the desired size at the wrist, this is meas- 
ured from E2 to F5 and from F3 to F cutting out any unnecessary mate- 
rial and shaping with just a little curve up to the largest part of the lower 
muscle at F4. 

It is important to keep the ends of the sides even or straight across C 
and CI, then fold the long side Cf into a plait at Fl and F2 to make the 
two sides the same length when stitched and to have plenty of room at the 
elbow, while also fitting the lower arm. 

20 



The front side of the top H2, Figure 2 should not be curved out so 
much in this design as in the plain sleeve. 

Circular and Ripple Cuffs 

Plate 7, Figure 6, shows the development of two circular cuffs. We 
will discuss and develop one here. 

Fold your paper as you did for the one seam sleeve and measure 2 
inches from the end on the folded edge and make a mark at A on Figure 6, 
from this point A measure 3 inches for the width of the cuff to B, from B 
measure to C2 Sy 2 inches. 

Take a stout pin and stick it into your paper and board at the point C2, 
tie a loop on a piece of thread and hook the loop over the pin, then hold 
your pencil on B and wrap the thread around it, then draw the curve B to 
B3 allowing the thread to guide your pencil. Now draw the outside or A 
to B4 line in the same manner. 

Now measure from B to B3 the length of half of your cuff 5 inches and 
maek a mark at B3, and draw a line from C2, through B3 to B4. 

The other cuff shown on Figure. A, B, B2 and B5, is developed in the 
same manner as above. To get more circle to the cuff move the CI closer 
to B and to make less circle move it farther away, always keeping on the 
folded edge and always making the distance from B to B2 or B3, equal to 
half of the sleeve size at lower end. 

Roll Collars 

The Roll Collar is developed on the same principle as the circular cuff, 
the main difference being that the distance from the inside of the collar B 
on Figure 7 to CI is much greater because the curve must be much 
straighter. 

The end of the collar outside edge A to Al may be made any desired 
shape. 

Contrary to the principle governing the cuffs, on the collar the straighter 
the line B — Bl is, the more the collar will roll and the more the B — Bl line 
curves the flatter the collar will lie. 

LESSON V 

Kimona Waist or Blouse 

The kimona foundation is used for the design of many garments; 
street, afternoon and evenings gowns as well as negligees. Every 
season brings variations of detail that none can forecast. 

You will study in this lesson the development of the two most 
important outlines and some of the fancy details with which you will 
have a working knowledge so as to advance with the change of style 
each season brings. 

The most generally used design is shown on Plate 8, Figure 3, 
and another design is shown on Figure 4. 

We will develop Figure 4 first , which has a seam on the shoulder 
from neck to the end of the sleeve, as shown. The plain sleeve 
development is shown on Figure 3. 

We will proceed to develop a plain kimona waist or blouse as 
shown on Figure 4. Lay out, draft and cut out a pattern for a plain 
blouse as you have already learned to do and place the back and 
front with the shoulder points together at the neck as shown on 
Plate 8, Figure 1, raise the front shoulder El up three-fourths of an 
inch to E2 and place the scale with the 13-inch mark at E2 and allow 
the curve of scale to fit shoulder curve ; then extend top line of the 
front of the sleeve E2 to F, being careful to keep the line straight 

21 



when you move the scale along to make the full length of the sleeve, 
which for this lesson is 18 inches from AH to F, so draft the E2 to F 




line long enough to make this ; then measure from AH straight over 
to F, 18 inches. 

The under-arm length on the plain waist foundation is 8 inches 

22 



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TRUE CENTER TRONT 



and we start the kimona sleeve 3 J / 2 inches above the waist line W. 
So next measure down from F the size of the sleeve at the wrist (8 
inches) ; one-half is 4 inches, from F to Fl. Now place the point of 
the scale at W and draw the bottom line of the sleeve to Fl. To finish 
the curve at the hand, place the 13-inch mark of the scale at F and 
the 17-inch mark at Fl and draw the concave curve. 

To develop the back of the sleeve, turn the scale face down and 
place the 12-inch mark at E3; let it fit the curve of the shoulder and 
draw the line E3 to F2. Be careful to keep the line straight when 
you move the scale to the full length, which is the same as E2 to F, 
17 inches. Now measure from F2 to F3, 4 inches, for the end of the 
sleeve, and draw the bottom line from Wl to F3 with the point of 
the scale at Wl, as shown. Get the convex curve on the back of the 
sleeve with the 13-inch mark of the scale at F2 and 17-inch mark at 
F3. The waist here is shown with a 3-inch over blouse from the 
waist line. This is a design that is very popular at times, al- 
though it is rather close for one having to raise the arms to any ex- 
tent, as the blouse must slide up from the waist when the arms are 
raised. 

The curve under the arm may be changed to any desired shape to 
suit the individual, either made from or below the waist line or made 
to spring from closer under the arm. 

Figure 3 shows several designs of kimona. The development is 
similar to the one you just completed except the pattern is made for 
half of the design without a seam on the shoulder, and the material is 
folded through the center front and center back and only the under- 
arm and sleeves are to be stitched, which is done in one continuous 
seam. In the foundation the sleeves are not cut separately, but if 
desired they may be cut apart and seams allowed, then stitched back 
into the armhole, as shown on Plate 8, Figure 3, E4 and Wl. 

Proceed to develop the plain kimona with no shoulder seams. 
First prepare a plain waist pattern to the measurements used on the 
other kimona. Use the edge of your paper for the center front and 
center back line. Place the foundation pattern as shown on Figure 

2 and develop as follows : Be careful to keep the shoulder points to- 
gether at E. Now draw the straight line for the shoulder and top of 
the sleeve, E to El. Measure from W to Wl on the under-arm line, 

3 inches, and make a mark as shown; measure from AH to El, the 
length of the seam, 18 inches, and draw a straight line, LI and L2; 
then measure from El to LI, 5 inches, and from El to L2, 6 inches, 
and draw both curves with the point of the scale at El ; this is to 
give the proper shape at the wrist. 

Now draw seam of sleeve, Wl to L2 and from W2 to LI, using 
the scale with the point at Wl and W2 as shown. The line EL and 
ELI shows a shorter length sleeve, and this can be made any length 
desired, with the curve shaped as at LI, El and L2. 

Figure 3 shows a front view of this waist, the line Wl to E4 show- 
ing the method for cutting out the sleeve in order to set it back with 
a seam or to use a different material. Place the point of the scale at 
Wl and draw the line up to E4, then trace_ the line through to the un- 
derside or back, cut out and shape as shown by the dotted line Wl to 
E4. Then allow seams on both the sleeve and waist. 

The same principle applies to the raglan sleeve as to the one on 
the end of the shoulder. 

The raglan sleeve is shaped from any desired point on the under- 
arm line to the desired point on the shoulder or neck, as shown by 
the line R and Rl. 

23 



LESSON VI 

Plain Coat, Double Breasted 

This design is made on the same lines as the French Lining or Princess 
Top and the development is very nearly the same, as you see on Plate 9, 
Figure 5. 

Paste two sheets of paper together and place the machine at the left 
hand end but place it just two inches over from the edge, as shown on 
Plate No. 9, Figure 1, A-A. 

For the top part, above the waist line set the machine up exactly as you 
do for the French Lining or Princess Top, except that you set the bust and 
waist measurements two (2) sizes larger than the actual measurement. 
This is for the necessary fullness for a coat and is increased or decreased 
according to the looseness desired. The lines are developed the same as 
the French Lining or Princess Top down to the waist line and for the skirt 
portion we develop as follows : The exact center front line is extended 
straight down to the required length, in this case 8 inches below the waist 
to H, then all of the other lines HI to H7 are continued down on the same 
curve, or are moved in or out as desired to give the required size at the hip. 

It is very important to check the hip size on the lines H, HI, H2, H3, 
H4, H5, H6 and H7. This should be just half of the coat size at the hip 
and should be three or more inches larger than the hip measurement. Note 
dot and dash lines Bl, B2, B3 and B4 on Plate No. 9, Figure 1, and on 
Figure 3, CI, C2, C3 and C4. These show how to get the desired hip size. 

Now we will develop the rever or lapel, the neck line C is continued 
straight over to the edge of the paper CC as shown on Plate No. 9, Figure 
1. The point A3 is raised one-half inch from CC, this may be more or less 
according to the design. Now, the rever is folded back to the desired 
distance down the front or three inches above the waistline, D, and the 
upper end is folded so it comes directly into neck curve E and a straight 
line drawn from E to C. See Plate No. 9, Figure 1. 

The first button is always placed even with the end of the rever or 
just where it begins to roll at D and the balance are placed as desired 
below this point. The facing line and where canvass goes is shown on 
Figure 5. 

For a design that required a dart from the bust to the shoulder without 
full length seam use the foundation in Figure 5. Place the front of pattern 
together at the bust and close it together at the bottom HI and H2. This 
gives the dart above the bust. 

The back may be cut all in one piece by placing the two back pieces 
in Figure 5 together and cutting the material on the fold at the center 
back. 

For a plain or fancy box coat place the foundation as in Figure 5 and 
draw the under-arm lines straight down to desired size at the hip, disre- 
garding the dart entirely. 

It is plain to be seen that a figure with a prominent bust cannot wear a 
box coat without a dart as it would stand out in the front instead of hang- 
ing straight down. 

To draft the collar we place the back and front sections together at 
the shoulder seam as shown on Plate 9, Figure 5 and measure around from 
the center back F through the point Fl to the point FF; this gives iy 2 
inches. Now we lay off the collar from the center back as shown on 
Plate No. 9, Figure 6. 

Let the edge of your paper be the center back, draw a straight line F 
and FF, measure from F to Fl 5 inches and to FF, 2^2 inches more, draw 
the end of the collar 2 inches from FF to F2; now on the center back line 

24 




25 



FIG, 6 ^ 

PLATL 9. 



measure from F to F3 the outside stand of the collar 2 inches, and from 
F3 to F4 measure V/z inches for the inside stand, next draw the curved 
line from F2 to F4 with the 16-inch mark on your scale at F2. Now trans- 
fer the point at Fl up to E and draw the curved line with the 15-inch mark 
on your scale at E, from E to F3. This gives the line where the collar 
turns over. Now shape the outside of the collar with the 16-inch mark of 
your scale on FF over to F. The line F2 to F5 should be made closer or 
further from FF according to the space desired between the end of the 
collar and the end of the rever. See A2 on Figure 4. 

Coat, Single Breasted 

To change this design to a single breasted coat extend the line AA on 
Figure 1 all the way down which gives the edge of your coat, move the 
line D in until it comes on the line AA and draw this roll line to E as in 
the Double Breasted design. Then shape off the outside of the rever with 
a line slightly curved at the top from CC to Dl on the line AA. 

You have already learned to make the plain two seam sleeve in 
Lesson I. 

LESSON VII 

Plain Two-Piece Skirt 

A plain two-piece skirt is cut with the seams on the sides of the figure 
or the continuation of the under-arm seam of the waist, therefore, we cut 
the pattern one-half of the front and one-half of the back so the material 
is cut on the fold, center front and center back making two pieces. 

The measurements required for the skirt are the waist, hip, front 
length, two side lengths and back length ; all measurements for the length 
of the skirt are taken from the w'aist line to the floor and then deduct from 
this the distance the skirt is finished above the floor, plus the allowance 
for the hem. 

If your paper is too small paste two sheets together on the long way 
This will give you a sheet 36 by 48 inches or larger. Now place the skirt 
machine on the edge of the paper as shown on Plate No. 10, Figure 1. 

The measurements for this skirt we will assume to be, waist 26, hip 40, 
front length 42, sides 43 and back 43. These measurements are to the 
floor and we wish the skirt finished 7 inches from the floor so they would 
appear in your measure book as follows : 
26 40 42 — 7 43 43 (Note the minus 7 after the front length) 

We draft the pattern for one-half of the skirt and that half will be 
in two pieces. The first thing we must do is to determine the size of 
each piece at the different points so we will divide the waist 26 into four 
parts which is 6 x / 2 inches on the front at the waist, we move the seam 
points one into toward the back so we add one inch to this which makes 
the waist of our skirt pattern 7y 2 inches for the front quarter from C to 
C2. This one inch is added to make the seam come in the right place on 
the side. 

The hip measure is 40 inches and we divide this into four parts which 
makes it 10 inches and we add one-half inch at the hip for comfort and 
ease over the front of the thigh. This makes the hip measure in the front 
10^2 inches. Now at the hem we must determine the amount of material 
required in the bottom of the skirt this depends to a great extent upon the 
style in vogue and the hip size. So for this lesson we will use 2 yards for 
the whole skirt at the hem line. This being reduced gives us 72 inches and 
divide this by four we get 18 inches for the width of the pattern at the 
hem both back and front. Now see that your machine is placed correctly 
according to Plate No. 10, Figure 1, C and CI. and draw around the waist 
curve to the 6 J / 2 inch mark C to CI and make a dash, then 1 inch more or 

26 







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27 



7^2 inches to C2 as shown. Now for the hip, measure down on the edge 
of the paper 8 inches C to H and also measure down 8 inches from C2 to 
H2. This is to give the length of the dart for the hip. Now from this 
8 inch mark on the edge of the paper H measure over the one-fourth of 
the hip size 10 inches to HI, plus the one-half inch, viz., 10^ inches from 
H to H2 ; next set the center front scale to the length of the front of the 
skirt, viz., 42 inches at F and measure up 7 inches to L. Now measure 
over the one-fourth of the size of the skirt at the hem, viz., 18 inches to LI 
and make a long dash, now set the side scale which is the side seam, to the 
length of the side, which is 43 inches. Now place the side scale on the 
18 inch dash at LI and draft a line up to the hip point H2 and from this 
point draft the side of the dart to C2 at the waist curve. This gives you 
the front half of the skirt. The back is drafted in the same manner except 
we deduct the 1 inch, that we add on the front at the waist line, then we 
add three inches for gathers at the waist line and add one and half inches 
at the hip for fullness and develop as follows. Refer to Figure 2, Plate 
10 — place the machine on the edge of the paper C and CI as you did to 
draft the front, draw around on the curve to 6y 2 inches and then take off the 
one inch that you added to the front which gives you 5^4 inches at Bl. 
Now from Bl 5 l / 2 inches add 3 inches for gathers which gives you 8^4 
inches from C to B2. 

Now measure from C to BH 8 inches, and from B2 to BH2, 8 inches, 
then measure from BH to BH1 one-fourth of the hip size 10 inches and 
from BH1, \y 2 inches for looseness to BH2. Now set your center scale 
to the length of the back 43 from C to F, now deduct the finish above 
floor 7 inches, from F to L. Now measure from L to LI one-fourth of the 
material required at hem, or 18 inches. Next set your side scale to the 43 
inch mark for the side length, be sure the curve at top is on the curved line 
at B2, then get the length from B2 to LI 43 inches, less 7. Now connect 
LI and BH2 with a straight line and draw a straight line from BH2 to B2 
which completes the outline. 

The seams with assembly notches must now be allowed and the hem 
shown, and for this lesson 4 inches will be allowed for a hem, the length 
of the hem is made according to the material used and the wishes of the 
designer, usually about 3 or 4 inches in wool or heavy materials and in 
silks, cotton or light materials they will be from 4 inches to 8 or 10, or in 
a great many cases, much more as in organdie, etc., where the hem is 
often the full depth of the skirt. 

Ordinary seams should be ^ or ^4 inch and in heavy goods or coats 
they should be % of an inch or more. 

Figure 3 shows the skirt pattern with seams and hem allowed. 

To cut skirts for a prominent abdomen the curve at waist must be 
just reversed, that is, the front is cut curved up and the back curved 
down. See Figure 3, Al and B2, which makes the front length the longest 
and back length the shortest. 

To hang a skirt on the belt for a figure that is larger on one hip, 
raise the low side on the belt so as to cause the center front and center 
back line to hang straight, take in seam on small hip and let out seam on 
large hip. 

Four-Panel Skirt 

This is a modified gored skirt which means wedge shaped or pointed 
and is fitted closely to the waist and hips without the fullness used in the 
plain two-piece skirt. 

The development is similar to that of the two-piece skirt except that 
there is no fullness allowed at waist and hip and the measurements around 
the figure are divided into four parts, as you can see on Plate 10, Figure 4,, 
only one-half of pattern being necessary. The center front and center back 

28 



alike (except for length) and the material for both would be cut on the 
fold. If it is desired the side panel may be cut in half on the center hip 
line H and HB and shaped from hip to waist as usual, which would make 
a six-panel skirt. 

The broken lines show the development of the design as follows, see 
Figure 5, and make only one-half of the pattern from center front to cen- 
ter back. Place the three pieces together and start to lay out the design by 
making the distance from C to CI three and one-half inches, from CI to 
C2 two inches, then from C2 to the center back. Next decide how far 
below the waist you want the front of the yoke Y, this we will make 12 
inches which will be 4 inches below the hip. Now locate Yl 7 inches be- 
low the waist and draw it as shown on Figure 4. 

The distance from Yl to Y is five inches so draw Fl one inch up from 
Y, this gives the center of the button and leaves 4 inches to be divided 
into the three folds Fl, F2 and F3, which will make them one and one-third 
inches each. The belt is a straight piece cut three inches wide plus 
allowance for seams. 

Always make the plain foundation first and develop the design on it. 
Then cut each piece apart and cut another piece for each and allow 
seams or other finsh. 
Plaited Skirts, Figure 10 

The word plait (or pleat, either is correct) means "to fold" and one 
of the methods used is shown on Plate No. 10, Figure 6. 

For all fancy skirts, always lay out a plain foundation. A plain two- 
piece foundation is required for this one. Develop as follows : 

Your pattern should appear just as the outline A and B in Figure 3. 
Now they should be pinned together with the side seams lapping from the 
hem to the hip, and above the hip to stand apart for the present. On the 
center front line of B, Figure 6, measure from W to H 8 inches, from 
W to L measure the net length of the skirt 42 inches less 7 inches which is 
35 inches from W to L, measure from H to HI 4y 2 inches, from L to LI 
6y 2 inches, then allow \y 2 inches for the plait and one-half inch for seam 
HI to H2, and the same from LI to L2 2 inches. Now draw the line of 
the plait, the line HI and LI is where the plait folds under or back toward 
the center front. Now measure on the waist line from W to Wl, 2y 2 
inches and from the center front line to P, 2 inches. Now draw the 
curved line for the edge of the pocket first with a broken line until you 
get the desired shape and then draw it solid. 

To develop the center piece or plait (C) take a piece of paper ten 
inches wide and the proper length 35 inches, then measure from the top or 
waist line down to H 8 inches and from H to HH draw a straight line all 
the way across the ten inches. Now measure from H to H3, 4% inches then 
\y 2 inches more for the plait to H4, now from H3 to H5 measure \y 2 
inches more and one-half inch for seam, then from H4 to H6 measure \y 2 
inches and one-half inch for seam. Now extend all of these lines down to 
the bottom of the paper and cut out as shown on Figure 6 (C). 

The back piece (D) is drafted just as you did the front (B), cut all 
three pieces out, don't forget to allow seams all around and a four-inch 
hem on the bottom. 

The front piece (B) folds back on HI and this line is placed on H3 
and the seam at H2 and H5 stitches together. Then on the back piece (D) 
H9 folds back on the H8 line and this line is placed to H4, then H9 and H6 
are stitched together. 

You will notice that we have only considered the hip size and length. 
Now pin all three pieces together on the plait seams and pin the point P 
to the piece under it, being sure that both (B) and (C) are laying per- 
fectly flat. Now follow the same instruction for (D) as you did for (B). 

29 



You will notice that the waist size is still 20 inches, which is half of the 
hip size, so lay little gathers or folds into the waist from W2 to W3 and 
from W4 to W5 until you get the desired size 13 inches which is half of 
the waist size. 

It requires just three times the amount of material for a full plaited 
skirt as it does for a plain skirt and the reason is shown when you examine 
Plate No. 10, Figure 9. 

You will see that the material is three thicknesses on a plaited surface. 

Figure 9 shows a box plait in the center and side plaits on both sides, 
when this piece is turned over you have an inverted box plait with side 
plaits. 

A sunburst plaiting is made by making the folds at one end of the 
material wider than at the other end, this causes the finished plaited piece 
to be fan shaped which is called a "Sunburst" plaiting. 

The difference between accordian and knife plaiting is that the former 
is formed on a round edged plaiter and the latter is formed on a sharp 
edged plaiter ; this makes the accordian plaiting more popular as it does 
not tend to splitting the material as much as does the knife or sharp 
plaiting. 

This work is usually done by a machine made for the purpose, the 
material is placed in the hot plaiter then pressed together and when it is 
removed the plaits remain fixed. 

Most of the large plaiting or kilting is done by hand in exclusive work 
and then should be done very carefully so that the edges will all be straight 
and parallel. 

For a plaited skirt we always use the hip measure to work by ; lay in 
the plaits to fit the hip then ease each one in gradually until we get the 
desired size for the waist. 

All material to be plaited should be hemmed or otherwise finished 
before it is plaited. 

Circular or Ripple Skirt 

Tradition tells us that the circular skirt came into existence next after 
the fig leaf and the reason was that the ladies of those days took an 
animal skin, trimmed off the legs and head, cut a hole in the center of the 
back and draped it around her waist, allowing the fullness to ripple as it 
naturally would. 

Be that as it may, we use the circular to a considerable extent today 
and probably will continue to use it in some form, if not with the full 
ripple. 

Plate No. 10, Figure 7, shows the plain circular skirt. 

The skirt machine will give the proper curves and measurements. 

The full ripple skirt is cut so there is only one seam and it is down 
the center back and the curve for the waist as you notice is almost a true 
quarter circle flattened in the front. The less ripple in the skirt the 
straighter this curve becomes. For a skirt that is a full ripple or nearly 
so we do not attempt to fit the hips as it is not necessary or desirable. 
The full ripple skirt would probably contain 7^ yards around the hem on 
the medium sized figure. 

The more popular ripple skirt for today is used for tunics, flounces, 
etc., and contain about 2, 2^2 or 3 yards at the hem line ; then if we cut 
this all in one piece we may dart the waist in above the hip in order to 
get a close fit just as shown on Plate No. 10, Figure 7 D, using either the 
one dart on either side, or the two darts, and in the event that we use the 
latter, we place them just as we do the seams in a four-panel skirt. 

Place the machine on the edge of the paper as before, C and CI (this. 

30 



design requires much larger paper), draw around the machine half of waist 
size 13 inches to W, measure down the center front as in the other skirts. 
Now measure from C to H the 8 inches for the hip and measure this 8 
inches several places from the machine HI, H2 and H3. You will notice 
that the waist curves more as it goes toward the back, now measure half 
of the hip size 20 inches from H through HI, H2 to H3. 

Now from LI measure several places as at the hip and make the points 
L2, L3, L4 and L5. Now measure half of the material required at the 
hem ; we will use 2 yards which will be 36 inches or 1 yard from L to L5 ; 
now draw a straight line from L5 to H3 and straight on to the waist, Wl 
(this must always be a straight line). Measure from H to HI one- fourth 
of the hip 10 inches and measure from C to Dl one-fourth of the waist 
plus 1 inch, iy 2 inches. Now measure from W to Wl and whatever this 
is, measure from Dl to D2, this gives the amount to take out for the dart 
D. The sides of the dart HI to Dl and D2 must be shaped with a little 
curve by placing the 15-inch mark of your designing scale at the waist line 
Dl and D2. There must be a regular seam allowed all around and then 
a facing cut the exact shape of the bottom, as a hem must not be turned 
up on circular pieces as it would not lay flat, the facing for this is cut just 
as you have learned to cut other facings. 

For a two-piece skirt with more ripple we must first determine just 
how much material is required at the hem, then cut the pattern just as you 
would for a plain two-piece skirt. 

Skirt Variations 

The light long broken lines on Figure 3, Plate 10, show the method for 
laying out scallops and other designs. The vertical lines running into the 
scallops show how to cut the sections apart and spread them in order to 
.get a circular flounce by slashing the bottom and spreading the pieces apart 
(see Figure 8), then by cutting another pattern all in one piece you get a 
circular effect. Circular ruffling will be taken up later. 

LESSON VIII 

Plain One-Piece Dress 

For this lesson paste two sheets of paper together so that it will 
be fifty inches long or longer; then place a pattern of your plain waist 
or blouse, made to the proper measurements on the edge, as shown 
by broken lines on Plate 11, Figure 1, make a plain two-piece skirt and 
add it to the bottom of the waist as shown on Figure 1. Now take 
another piece of paper and lay out the back in the same manner. 

There is 1^4 yards of material at the hem in this dress, so the 
front must be 18^4 inches and the back 12^ inches. The plain waist 
and plain skirt are shown by the broken lines. Now draw a straight 
line from the hem H and HI to the armhole A and Al. 

Proceed to develop the design as follows: The vest is four inches 
wide, which makes V to VI, 2 inches. It is cut 8 inches below the 
waist, so measure 8 inches and make the line LV to LV1. 

The panel on the side is four inches from the vest line and it is 
9 inches above the waist and 8 inches below the waist, so measure 
from P to PI, four inches, and draw the vertical line for the front of 
the panel PI, P2. The panel on the back is 3 inches from BP to BP1 
and straight down to B2. 

Now measure down from the normal or tight neck line V to the 
top the vest, which is three inches, and draw the top of the vest. 
Now make marks for assembly notches and cut apart. 

31 









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32 



Place the side panels together and cut all in one piece. The fin- 
ished pattern should be just as Figure 4. 

Don't fail to make the assembly notches, show all seams and mark 
each piece as shown. 

The sleeve, Figure 5, is made just as you learned on Plate 7, 
Figure 3. 

The cuff is a plain band 3 inches wide and 8 inches long with 
seams allowed which make the pattern 4 inches wide and 9 inches 
long; then it is folded through the center, making a narrow cuff \ l / 2 
inches wide finished. 

The collar is made just as in Plate 6, Figure 6, except the end is 
shaped a little different. 

Bear in mind at all times that all designs have a foundation and 
you have learned all of the foundations. The first thing to do when 
starting to make a design is to decide on the foundation, then make 
it and develop the lines therefrom. 

The designs that are made on the Kimona foundation are devel- 
oped the same as you did from Plate 11, Figure 1. The student must 
practice to get results and remember that "Practice makes perfect." 

Draping 

The easiest known method to drape a garment on the figure: 
First select the design, then study carefully every detail. When you 
have fully determined what foundation to use, whether princess lines, 
plain blouse, or kimona, then place material on cutting table and 
outline with chalk as much of the design as possible to cut by meas- 
urement, mark every point carefully, center of front, center of back 
(on each and every part), waist lines, back and front, shoulder points 
and seams and hip point; then, after stitch marking them so as to 
have them exactly the same on both sides, baste them together at all 
points possible; then place on form and drape balance carefully to 
the design that you have selected. You will find this will 
save endless hours of measuring and save one-third of the 
time usually required. If you have never draped before, then se- 
cure a soft piece of material about 4 yards in length and practice with 
this material until you acquire a soft drapy feeling in the ends of 
your fingers, that is, a feeling that by just lifting the material you can 
cause it to fall into any fold or line that you desire. The beginner 
must just drape and drape and drape until she has mastered the de- 
sign selected. Trim away any surplus material and finish the edges 
according to the style. By raising or lowering the material on the 
figure or adding extra fullness in one place and stretching it at an- 
other, you will soon get in your finger tips the art of draping. We 
show you here the fundamental principles of draping, the outlines of 
the several different foundations, you could read hundreds of 
volumes and look upon thousands of pictures but you never can ac- 
quire the art of draping until you get it into the tips of your own 
fingers, and that is done only by practice. One design mastered means 
a good start on the road to a good draper. 

Proceed to draft a pattern for the gown shown on Plate 11, Fig- 
ure 6. You will see that both the front and back are cut surplice. 
Paste several pieces of paper together until you have a piece two 
yards long and at least one and a half yards wide. Then fold it 
through the center the long way and outline the surplice blouse as 
you learned from Plate 6, Figure 7. Be sure that the waist line is 
marked. 

33 



Now unfold the paper and measure down from the armhole at A 
5 inches to D; then measure 1^2 inches to Dl and fold this up in a 
drape and pin it. 

Now measure from Dl to D2, 2y 2 inches, and from D2 to D3, an- 
other V/2 inches, and fold this up into a drape and pin it. Follow the 
same procedure with the other two drapes and make the finished 
length from A to LI, 29 inches. Pin each drape in the paper as soon 
as you fold it. For the drapes that go into the buckle on the left 
front, follow the same procedure as on the right side. 

Now, at 4 inches below the waist line H measure out from the 
center front line H to HI, 20 inches, and lay off the cascade drapes 
from HI to H2, 3 inches ; from H2 to H3, iy 2 inches ; from H3 to H4, 
254 inches; from H4 to H5, 2^ inches. H2 folds onto H4 and H4 
folds up to W. Now measure from HI to L, 10 inches, placing L out 
about 3 inches from the straight line S. 

Now get full length from point of shoulder E to point of Tunic 
L2, 50 inches. Now draw a straight line from L to L2 and from LI 
to L2. 

For the back of the tunic, Figure 7 (B), first draw your plain sur- 
plice foundation as you did for the front, with the paper folded 
through the center. Now unfold the paper and measure down from 
the waist line to BH, 4 inches; from BH to Bl measure one-fourth of 
the hip size or 10 inches plus at least one inch for looseness. For the 
drape on the back of the right hip measure from the waist line W3 to 
W4, 2 inches, and from W4 to W5, \ l /> inches. Fold this drape up and 
pin it. Now measure from Al to L3 the same as the front, 29 inches. 

Now measure from BH to B2, 18 inches; and from B2 to B3, up 
7 inches; from B3 to B4, 2*4 inches; from B4 to B5, 2V 2 inches; from 
B5 to B6, 3 inches; from B6 to B7, 2 inches; from B7 to B8, 3 inches; 
and from B8 to B9, \y 2 inches. 

Now measure down from B3 to L5, 15 inches ; and from CB to L5, 
24 inches. 

Now measure the full length of the back tunic from the shoulder 
El to L4, 49 inches. 

Lay in the cascade drape here just as you did in the front. 

The long curved broken line on Figure 7 (D) shows where you 
cut the surplice back from the tunic. This is used to draft the left 
side back of the bodice, which is made straight down to the waist 
line as shown. 

The left front of the bodice, Figure 7 (C), is made just as you 
made the back, by using the piece cut from E to E3 as a pattern and 
extending it over the center front and down to the waistline as shown. 

The vest, Figure 7 (E). is a plain piece, 10 inches wide and 13 
inches long, attached to the lining. 

The foundation skirt is made just a plain two-piece and the waist 
foundation is a regular French lining. 

The student will no doubt have some difficulty in developing this 
design at first attempt, for it is one of the most difficult and most 
beautifully draped designs used in costume designing. She should 
practice over several times with the layout on paper and then develop 
the design in some soft material. 

When this design is mastered there need be no fear of not mas- 
tering all of the rest. 

The circular cascade, Figure 8, is cut similar to the one you just 
made, except that the top is cut circular just the size of the space it 
covers, which makes it perfectly smooth or without gathers. 

34 



Figure 9 shows the pattern for this plain circular cascade drape 
and the long, straight side stitches into the side seam of the skirt. 

The student should practice these designs until she gets draping 
into the ends of her fingers. 

Children's Dresses 

A great many have trouble with designing children's garments. 
This is because they do not use measurements. Children's garments 
are cut on exactly the same principle as adults except that the meas- 
urements are different. 

The student should take the measurements of some children that 
are at hand and practice cutting designs to their measurements. 

The majority of children's garments are cut over the Kimona 
foundation as a little observation will show. Figure 10 shows a child's 
dress. Figure 11 shows the outline developed and Figure 12 shows the 
pattern. It is very plain that the principle is the same as for adults ; 
therefore, the student should practice until she is familiar with chil- 
dren's measurements. 



35 



LESSON IX 



Applique Cutting 

The use of applique is popular more or less at all times and for 
many purposes ; therefore, it is very necessary to have a quick method 




F2- 



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BIAS FOL0E.D E.OC,E% *- 2-" -**- 2-" — » 2." 



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BIAS FOLDE.D ED(,E 




PLATE 12 



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for cutting it, which is given here. Applique is usually made from de- 
signs of fruits, leaves, points, scallops, squares or other geometrical 
figures and applied to the material with glue or fancy stitches. It. 

36 



should always be cut on the bias (or diagonal) or circular of the ma- 
terial. The material is folded so that a pattern for half of the design 
is needed; when it is unfolded you have the full design. 

For practice work, take a square piece of paper, any size will do, 
the larger the better, Plate 12, Figure 1, and fold the corner A over 
to Al and you will have the same as Figure 2 F, Fl being the folded 
edge, which is the true bias. 

We will select a simple arrow-point-and-ball design which will be 
four inches from point to point of the arrows, Figure 3. 

The pattern must be half of the design or 2 inches from C to CI 
and 3 inches from T to B. ^Now measure as on Figure 2 from F to E 
and from Fl to El, 2 inches, and fold over and over on this line until 
you have a folded strip 2 inches wide, Figure 4. Now place the pat- 
ern of Figure 3 on the folded strip, Figure 4, and lay out and mark 
the design the full length of the strip and cut out the entire strip 
until the desired length of applique is obtained. 

The student should start right in and cut out several designs from 
her own mind. In this way you will soon be able to make original 
designs. 

Remember that the fold E, El to F, Fl on Figure 2, must be just 
half of the width of the design and the pattern must be for half of 
the design desired. 

(Note that Figures 1 and 2, showing the paper, are drawn to a 
much smaller scale. Do not let this confuse you.) 

Note Bias Folds and Rufflings, which require a great deal of time 
to make the old way, are cut in the same manner as applique by 
folding the material as you did for Figure 4 and measuring the width 
desired, being careful to keep your line straight across the folded 
edges, otherwise you will have crooked lines when cut apart. See 
Figure 4, Plate 12. 

Circular Ruffling, Plain and Scalloped 

Quite often great quantities of circular ruffling is required and 
cutting it inch by inch, the old way, is almost an endless job. Cutting 
straight pieces and shirring them up or cutting circular pieces by a 
pattern, one at a time, is extremely old style. 

We will fold the paper and cut a plain circular ruffle. Fold your 
paper just as yon did for the plain applique A to Al in Figure 1. Now 
fold Fl on the right side over to F2, which gives you F3. Now fold 
F3 over to F2 line again and you have your paper folded as in Figure 
5. Now start at the bottom and make a mark at A, Figure 5, and hold 
your tape at the point C. Then transfer the same length over to Al ; 
this is to get a perfect circular. 

Now measure from A to B and from Al to Bl, the width you wish 
the ruffle — in this lesson we make it three inches. 

Now cut along the line A to Al and B to Bl and you have a cir- 
cular ruffle. Measure from B and Bl on up the fold and cut off pieces 
until you get the required amount of ruffling. 

You can see that ruffling cut this way does not have to be shirred 
as it is already ruffled in cutting when applied to a straight line on 
the garment. 

Figure 6 shows the way to cut circular ruffles with scallops ; any 
design may be used instead of scallops. Fold the paper and lay out 
the plain ruffle just as you did for Figure 5, and then shape the scallop 
or other design and cut apart as you did for the plain scallop. 

37 



Full Circular Ruffling 

Very often an extremely full circle is desired. This is obtained 
by marking the second fold on Figure 2 F to Fl, then using CI as the 
center or point, then cutting the ruffle as in Figure 5. 
Embroidery, Braiding and Fancy Stitching Designs 

Figure 7 shows the method for producing circular applique and 
embrodiery designs which can also be used for braiding outline and 
some very pleasing and original designs may be obtained in this 
manner. 

Very often it is necessary to have a special original design for 
embroidery, braiding, etc This is made just as you have learned to 
make the applique; ;then it is pinned on the material, stitched around 
the outline and embroidered in skeleton or filled in solid, or the out- 
line is used as a guide for putting on braid, etc. 

After the student has learned to execute this work on paper then 
she should practice with material, as this is where the time is saved. 
The lighter weight the material is, the more folds can be made at a 
time, and the heavier the material is, the fewer the folds, as it becomes 
too thick to cut with shears. 



38 



LESSON X 

Discussion on Lines of Design 

Contrary to the general belief that stout figures must wear harsh 
vertical lines, there are many designs that slenderize the more gener- 
ously proportioned figures that do not have distinctive up and down 
lines. 

Gracefully curved lines going around the figure with a circular 
fullness falling from them gives a stout figure of fair proportion a 
slender effect. For instance, a circular skirt or tunic sewed to the 
blouse at or slightly, say one or two inches, below the normal waist 
line will give a more slender effect than a straight gathered panel 
effect will do. 

The main point in making designs for stout figures is to not fit 
the figure too closely, especially at the point where there is promi- 
nent fullness, for by fitting closely any curve that is not a graceful 
one you simply bring out the bad points when the object in view is 
to conceal them. 

Every one knows a well proportioned figure of medium size can 
wear any design and it will be more or less becoming, but each and 
every woman has some individual points that can be made to stand 
out clearly by having clothes that are properly designed for her only. 
And this can only be done by studying the lines of each figure care- 
fully until you acquire a working knowledge of the lines that are the 
most becoming to the different types, which is not difficult if you ob- 
serve carefully the different people you meet every day and make a 
mental or written note of all the fine points that you see. 

Materials of plain colors and neutral tones are better for stout 
figures. However, materials with irregular designs and medium stripes 
can be used and do not materially add to the size. 

Never fit the waist line closely; a waist and tunic or a waist and 
skirt joined together and semi-loose will always give a slender effect. 
Long narrow vest front with flat neck finish or narrow semi-rolling 
collars are always good, as also is the surplus waist or dress. When 
fullness is added to the front of a garment at the shoulder, it is better 
to bring the shoulder seam forward, as this will make the shoulders 
seem smaller. (See Plate 6, Figures 3 and 4.) If plaits are used, then 
the shoulder seam should remain in normal position. If the hips are 
large, let the shoulders and hem of skirt be the main widths of a 
design. Never add any fullness that will give added width to the 
hips or waist. For a figure that is large in the shoulders and bust, 
use a short shoulder length, flat neck finish, V, U or square neck line 
with full tunic or skirt without defining the waist line. 

For an extra large arm that is short, use a flowing sleeve with 
vertical lines and narrow cuff for hand finish. (The same rule applies 
to extra stout arms as to the body). By fitting it closely you add 
to the size. When an arm is short, do not use deep cuffs or several 
lines of division. 



39 



Glossary of Materials and Terms 

This chapter gives a general description and definition of the most 
popular woolen, silk and cotton goods, laces and nets. 

Woolen Fabrics 

Woolen materials are made from the fleece of different animals, 
generally sheep. Quite often the wool is mixed with cotton or other 
material to lessen the cost of the fabric. A simple method to deter- 
mine pure wool is to touch a thread to a match flame ; if pure wool, it 
will curl up considerably before it starts to burn, and if there is a mix- 
ture the odor is easily detected as not pure wool, which has the odor 
of searing flash. 

The following are the most popular and generally used woolen 
goods : 
Beaver — Thick woolen cloth ; weave similar to doeskin. The wrong 

side long thick nap. 
Bedford Cord — Heavy ribs or cords running lengthwise in the fabric. 
Botany Yarn — Australian wool used for worsted dress goods. 
Bolivia — Similar to velours with uncut nap and glossy finish. 
Broadcloth — Beautiful smooth pressed cloth; glossy finish. 
Cashmere — Woolen cloth twilled on one side with a soft finish. 
Camel's Hair — Loosely woven woolen ; long hairy nap. 
Challie — Very light woolen without twill; plain or figured. 
Cheviot — Twilled nappy woolen cloth. 

Chinchilla — Similar to Bolivia with uncut nap and dull finish. 
Covert Cloth — Diagonally twilled cloth. 
Esponge — Knotted thread loosely woven. 

Homespun — With warp knotted to resemble hand-made thread. 
Kasha Cloth — A camel's hair fabric. 

Lansdowne — Silk and wool; very light weight; glossy finish. 
Melton Cloth — Stout, smooth; the nap is sheared close to the surface 

without pressing or glossing. 
Mohair, or Sicilian — Light weight, shiny, composed of wool from the 

Angora goat. 
Poiret Twill — Fine diagonal twill or serge named for the famous 

French designer, Poiret. 
Serge — Woven with a plain or twilled weave similar to a small cord. 
Tricotine — Coarse diagonal twill. 
Tweeds — Closely woven coarse thread fabric. 
Velours — French for velvet, a pile fabric as plush. 
Ziebline — Imitation fur cloth. 

Silk Fabrics 

Silk as we know it today is made by the silk worm, which is cul- 
tivated and raised especially for the purpose just as bees are raised to 
make honey. 

The worms make the silk in cocoons or balls, from which the 
thread is spun which in turn is dyed or otherwise treated and woven 
into fabrics. 

There is also on the market a cloth called Tussah silk, made from 
the silk of the wild silk worm. 

In recent years chemists have perfected a process for using silky 
fiber from certain plants. This is known as vegetable silk and is used 
extensively in the manufacture of low priced materials. 

40 



There are hundreds of names applied to silks of various composi- 
tion and manufacture. Following are the most popular arid generally- 
used silk fabrics : 

Antique — Imitation of silks of former centuries. 
Bengaline — Round corded weave of silk and wool. 
Broadcloth Silk — Same as Pussy Willow with glossy finish. 
Brocade — A silk woven with raised designs. 
Canton Crepe — A crinkley rough surface crepe. 
Chiffon — Transparent silk gause. 
Crepe de Chene — Soft woven crepe. 
Charmeuse — A very high grade supple satin. 
Crepe Lisse — A thing silk gause. 
Chiffonette — The flimsiest of the chiffon family. 
Crepe Meteor — Fine woven crepe ; satin faced. 
China Silk — Thin plain silk. 

Faille (file) — A soft ribbed silk running cross-wise, same as gros grain. 
Foulard — A soft, washable dress silk, usually with figures of regular 

design. Twilled Foulard is really a silk serge. 
Gros Grain — Ribbed with heavy cord running cross-wise. 
Georgette — A heavy crepy chiffon. 
Liberty Silk — Thin with a satin finish. 
Malines — Very fine silk net. 
Messaline — Light weight, lustrous surface. 
Moire — A watered effect; used on all kinds of silks. 
Pongee — Thin material woven from natural uncolored silk. 
Matelasse — Woolen or silk cloth with a raised pattern as though 

quilted. 
Poplin — A corded material of cotton, silk or wool. 
Pussy Willow Silk — A heavy, firm, washable silk. 
Radium — Brilliant or metal finish on silk. 
Satin — Close texture overshot warp, rich glossy surface. 
Surah — Light soft-twill silk. 
Taffetas — A plain weave, hard smooth surface. 
Tulle — Plain fine silk net of the chiffon family. 
Tussah Silk — A rough surface similar to pongee, made from the silk 

of the wild silk worm. 
Tricolet — Jersey silk weave similar to stockings. 

Cotton Goods 

Cotton, used so generally for thousands of purposes, is a vegetable 
which grows in warm climates. It develops a boll or ball, usually 
about two inches in diameter, which is filled with the cotton fibre and 
seeds. The seeds are ginned or taken out of the fibre, which is spun 
into thread from which the materials are made. The lint, or cotton 
dust, which comes from the fibre in ginning is used for padding, 
quilting and many other purposes. 

Following are the most popular and generally used cotton fabrics: 
Batiste — Fine cotton muslin; silky finish. 

Bucram — Cotton cloth two or three thicknesses stiffened with glue. 
Buther's Linen — A loosely woven linen, plain and smooth. 
Cambric — Loose woven muslin, stiffened. 
Calico — Printed muslin. 

Cape Net or Rice Net — Stiff-finish Nottingham net. 
Chambra — Similar to plain gingham. 

Crinoline — Similar to cheese cloth, stiffened with a sizing. 
Cheese Cloth — A loosely woven muslin without sizing. 
Damask — With flat figures formed by contact between the warp and 

filling surfaces. 

41 



Dimity — White or printed; raised threads or cords running lengthwise. 

Etamine — A coarse weave in cotton or silk; semi-transparent. 

Gingham — A woven cotton material, plain or figured. 

Japanese Crepe — A crinkly material made in Japan. 

Mercerized — A chemical process for rendering cotton thread silky. 

Muslin — Foundation weave from pure cotton thread. 

Organdy — A thin, transparent muslin. 

Percale — Cambric cloth closely woven, printed or plain. 

Pique (Pekay) — Cotton cloth ribbed lengthwise. 

Rep — Material ribbed crosswise, as cotton poplin. 

Swiss — Hard, fine weave, usually with dots or St. Gaul designs. 

Tarlton — Similar to crinoline, not so stiff in all colors. 

Voile (French for veil) — Similar to Swiss, except it is a soft fine weave 
made in all colors and designs of cotton, silk or mercerized. De- 
signs are woven, printed or stenciled. 

Laces 

Lace material is woven in such a way that the arrangement of 
threads make the design. It is usually very open or porous. There 
are hundreds of methods of weaving it. The finest laces are woven by 
hand on a board filled with needles where the thread is woven in and 
out on the needle points, from which comes its name. Another meth- 
od is to stretch the lengthwise threads (or warp) on a loom and work 
the design with a hand bobbin or shuttle, from which comes the name 
bobbin lace. 

There are hundreds of different machines for making laces, em- 
broideries, etc. One of the most popular machine-made laces is Val- 
enciennes, commonly called "Val." 

Following are some of the popular and generally used laces: 
Alencon (Point d') — Fine needle-point lace. 

Allover — Lace or embroidery where the design covers the entire sur- 
face 
Antwerp — Bobbin lace, basket effect. 
Baby Lace — Light, simple edgings made in England. 
Battenburg — Hand-made of Battenburg braid. 
Bobinet or Brussels — Plain net with six-sided mesh produced by 

twisting the thread. 
Boubon — Machine-made lace of silk or cotton. 
Brides — The slender threads that connect designs in lace. 
Chantilly — Pillow lace very similar to blonde, made in both silk and 

cotton, usually black. 
Cluny — Coarse thread bobbin lace, linen or cotton. 
Filet — Square mesh net. 

Flemish Point — Needle point lace made in Flanders. 
Footing — Simple insertion of Brussels net. 
Irish Crochet — A heavy white hand-made, distinctive pattern; very 

beautiful. 
Irish Point — Applique embroidered on net. 
Rose Point — Same as Venice. 
Spanish Lace — Convent-made needle-point in large squares, or black 

silk in floral designs. 
Point d' Esprait — A dotted net. 

Torchon — Coarse open bobbin lace of simple pattern. 
Venice (Venetian Point) — Needle point lace in floral pattern close to- 
gether connected by brides ornamented with picots. _ 
Valenciennes — Bobbin lace, seen mostly in cheap insertions, common- 
ly called Val. 
Van Dyke Points — Applied to laces with a border made in points. 

42 



General Terms 

Applique— Designs cut out and applied to other material by stitching, 
embroidery or gluing. 

Bias — Diagonal line across material. 

Bayadare — Design that runs across material. 

Brandenburg — Ornamental braid loop to use in the place of button- 
holes; commonly known as frogs. 

Bouillonne — Narrow shirrings that edge wide ruffles of the same or 
other materials. 

Caiman Cloth — Resembling alligator skin. 

Chic (Shik) — Smart, good style. 

Cloque — A line of straight embroidery ending in an arrowhead, used 
on hosiery. 

Dresden — Applying to a very small, neat design. 

Directoire — French style of dress of 1793 to 1901, reign of Louis XIV. 

Empire — Style during the reign of Napoleon I; origin, Greece. 

Fagoting — A criss-cross, open-work stitch done in rope silk. 

Galloon — A narrow braid of gilt or silver on uniform. 

Guimpe — A separate yoke and collar with or without sleeves. 

Guipure — A coarse braid. 

Incroyable — Same as Directoire. . 

Linen — Thread made from the fibre of flax. 

Lingerie (langeree) — Soft, daintj' garments that may be laundered. 

Maribou — Soft, down-like feathers. 

Medici — A collar, high, stiffened, flaring out at the top. 

Motif — The unit of any design. When used separately, it is called a 
medallion. 

Nap — Right side finish on woolen materials that cut one way, nap 
running smooth toward the bottom of the garment. 

Passementarie — Heavily embroidered edges and galloons of rich 
guampe braids, beads, silk, or tinsel. 

Pile — Right side finish on velvets and plushes cut one way, pile run- 
ning smooth toward the top of the garment. 

Princess — Garment cut lengthwise all in one piece, fitted or semi-fitted, 
having seams from the center of shoulder, back and front, to hem, 
giving panel effect. 

Rucheing — Narrow, plaited material stitched in the center. 

Suade — Unfinished leather. 

Picot — Small loop used as an edging on laces, ribbons, etc. Machine- 
made square holes stitched in garments, called hemstitching when 
cut apart; this makes picot edging. 

Pinking — Edges cut with a pinking iron or machine to give fancy 
finish to seams, edges and quillings. 

Warp — The lengthwise or longitudinal thread in a woven fabric. 

Woof — The crosswise threads in a woven fabric. 

Treatment of Colors and Shades 

Many volumes have been written on the subject of color.. All of 
these works are available, but for the novice and inexperienced we 
give a much simpler method for acquiring a practical knowledge of 
the application of colors as applied to Costume Designing. 

The student should supply herself with samples of material in all 
colors and shades of every description, which may be obtained from 
any dry goods store for the asking. 

These should be tagged with the name of the material and the 
color that it is known by. 

When wishing to select color combinations, .first choose from the 

43 



samples the body color or shade, then match the trimming shades 
with this sample until you get the desired effect. In this manner you 
will soon acquire the knowledge of what colors and shades harmonize 
or contrast. 

For one who intends to make a serious study of colors a very im- 
portant thing to do is to have a pencil and tab handy always. When 
you see a combination of colors or shades that are pleasing in a dress, 
hat or painting, write, the combination down. This will also give you 
quite an assistance. 

We reprint here a table of colors prepared by the Millinery Trade 
Review, of New York, an authority on millinery, which means color. 
This table gives contrasts and harmonies of the basic colors and 
shades. 

REPRINTED BY PERMISSION OF THE MILLINERY TRADE REVIEW 

Color Harmonies and Contrasts 

The following table of color harmony and contrast is presented for the 

purpose of aiding designers and others who have to do with the planning 

of women's millinery, who are sometimes puzzled by inartistic results of 

trimmings that look well on one shade of a given color but that "scream" 

when applied to another tone of the same color. The reason may be found 

here: 

White contrasts with blue and harmonizes with sky blue. 

White contrasts with purple and harmonizes with rose. 

White contrasts with puhple and harmonizes with buff. 

White contrasts with brown and harmonizes with gray. 

Cold greens contrast with crimson and harmonize with olive. 

Cold green contrasts with purple and harmonize with citrine. 

Cold greens contrast with white and harmonize with blues. 

Cold greens contrast with pink and harmonize with brown. 

Cold greens contrast with gold and harmonize with black. 

Warm greens contrast with crimson and harmonize with yellows. 

Warm greens contrast with maroon and harmonize with orange. 

Warm greens contrast with purple and harmonize with citrine. 

Warm greens contrast with red and harmonize with sky blue. 

Warm greens contrast with pink and harmonize with gray. 

Warm greens contrast with white and harmonize with white. 

Warm greens contrast with black and harmonize with browns. 

Warm greens contrast with lavender and harmonize with buff. 

Greens contrast with colors containing red and harmonize with colors con- 
taining yellow or blue. 

Orange contrasts with purple and harmonizes with yellow. 

Orange contrasts with purple and harmonizes with red. 

Orange contrasts with black and harmonizes with red. 

Orange contrasts with olive and harmonizes with warm browns. 

Orange contrasts with crimson and harmonizes with white. 

Orange contrasts with gray and harmonizes with buff. 

Orange requires blue, black, purple or dark colors for contrast, and warm 
colors for harmony. 

Citrine contracts with purple and harmonizes with yellow 

Citrine contrasts with purple and harmonizes with yellow. 

Citrine contrasts with blue and harmonizes with orange. 

Citrine contrasts with black and harmonizes with white. 

Citrine contrasts with brown and harmonizes with green. 

Citrine contrasts with crimson and harmonizes with buff. 

44 



Russet contrasts with green and harmonizes with red. 

Russet contrasts with black and harmonizes with yellow. 

Russet contrasts with olive and harmonizes with orange. 

Russet contrasts with gray and harmonizes with brown. 

Olive contrasts with orange and harmonizes with green. 

Olive contrasts with red and harmonizes with blue. 

Olive contrasts with maroon and harmonizes with brown. 

Gold contrasts with any dark color, but looks richer with purple, green, 

Gold contracts with any dark color, but looks richer with purple, green, 
blue, black and brown than with any other colors. It harmonizes with 
all light colors, but least with yellow. The best harmony is with white. 

Full Size Drawings 

Full size drawings of all plates may be had by those desiring same. 
Special plates showing development of new styles may be had when 
Dame Fashion makes any extraordinary changs. 

Free Students' Service Bureau 

The Academy maintains for your convenience a Service Bureau for 
purchasing materials or supplies and for furnishing any other information 
desired, whether it pertain directly to Costume Designing or not. 

On account of Our ideal location we have at our disposal the best 
Libraries and Museums on earth which enable us to furnish almost any 
information. 

The stores of Washington carry complete full stocks of all materials 
and supplies, both domestic and imported from which one may be supplied. 

This service is free except for any special expense on account of the 
individual. 

This booklet is prepared for instruction on the use of Prof. Living- 
stone's French Dresscutting Machine. Information on any other instruc- 
tion desired may be obtained through our Students' Service Bureau. 

Machine for Sale and Instruction by Mail 

The dresscutting machine with instruction book may be purchased out- 
right. We also give individual personal instructibn by mail, correcting each 
lesson as it is finished and teaching the student where her errors are and 
showing her how to correct them. 

Examination Questions 

After completing the course the student is given a general examination. 

Diploma 

Upon succss fully completing examination graduates are awarded one 
of our diplomas, for which there is made a nominal charge. 



45 



TABLE OF AVERAGE MEASUREMENTS 
OF WOMEN'S FIGURES 



WAIST 

Front 14 W/ 2 15 15 15^ 15^ 16 W/ 2 17 17^4 

Underarm 9 9 9 9 9 9y 2 9y 2 10 10 10^ 

Bust 32 34 36 38 40 42 44 46 48 50 

Chest 12 I2y 2 13 13 14 14J4 14^ 15 15% 16 

Waist 26 27 28 29 30 31 32 33 34 35 

Shoulder to Dart .... 9% 9y 2 10 10y 2 10y 2 11 11 liy 2 12 13 

Shoulder 5 5/ 2 5/ 2 6 6 6y 2 6y 2 6*/ 2 7 7 

Neck 12 I2y 2 13 13% 14 14% 1454 14% 15 15% 

Back 16 16 16 16 16 I5y 2 15% 15 15 15 

SLEEVE 

Upper Muscle 9% 10 11 12 12% 13 13% 14 14% 15 

Shoulder to Elbow ... 14 14 13% 13 13 13 13 13 13 13 

Elbow to Hand 10% I0y 2 10% 10 10 10 9y 2 9y 2 9 9 

Hand 6% 7 iy 2 8 8 8 8% 9 9y 2 9y 2 

Lower Muscle 10 I0y 2 11 11 11 11% 12 13 14 15 

Inside Length 20 19% 18*4 18 18 18 17 y 2 17% 17 17 

SKIRT 

Waist 26 27 28 29 30 31 32 33 34 35 

Hip 36 38 40 42 44 46 48 50 52 54 

Front 40 40 40 42 42 42 43 43 44 44 

Right Side 41 41 41 43 43 43 44 44% 45 45% 

Left Side 41 41 41 43 43 43 44 44% 45 45% 

Back 41 41 41 43 43 43 44 44% 45 45% 



This table was compiled from averages of actual measurements taken for 
custom-made patterns. 

46 



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